A Descriptive Catalogue of the Music of Charles Ives 9780300242331

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A DESCRIPTIVE CATALOGUE OF THE MUSIC OF CHARLES IVES

A DESCRIPTIVE CATALOGUE OF THE MUSIC OF CHARLES IVES

James B. Sinclair

Yale University Press New Haven & London

Published with assistance from the National Endowment for the Humanities, an independent federal agency, and The Charles Ives Society, Inc. Figures 1-7 courtesy of the Charles Ives Papers, Yale University Music Library. Copyright© 1999 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed and typeset by the author. Printed in the United States of America.

Library of Congress Cataloguing-in-Publication Data Sinclair, James B. A descriptive catalogue of the music of Charles Ives I James B. Sinclair p. em. Includes bibliographical references (p. 691) and indexes. ISBN 0-300-07601-0 (cloth: alk.paper) I. Ives, Charles, 1874-1954-Bibliography. I. Title. ML 134.19S56 1999 0!6.78'092-dc21

A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. 10 9 8 7 6 5 4 3 2 I

In memory of

JOHN KIRKPATRICK (1905-1991)

and

PAUL

C. ECHOLS

(1944-1994)

PROEM

Music is one of the many ways God has of beating in on manhis lifes, his deaths, his hope, his everything an inner something, a spiritual storm, a something else that stirs man in all ofhis parts [and] consciousness, and "all at once"we roughly call these parts (as a kind of entity) "soul"it acts thro or vibrates or couples up to human sensations in ways (or mediums) man may hear and know: that is, he knows he hears them and says (or thinks or feels) he knows them.further than this, what this inner something is which begets all this

is something no one knows especially those who define it and use it, primarily, to make a living. all this means almost nothing to those who will think about it music -

that no one knows what it is -

and the less he knows he knows what it is the nearer it is to music- probably.

Charles E. lves

Memo on notepaper of the St. James's Palace Hotel, London, June 1924 (now in Diary 9). Edited by John Kirkpatrick and slightly amended by H. Wiley Hitchcock.

CONTENTS ix

PREFACE

xvi

ACKNOWLEDGMENTS USING THIS CATALOGUE

xviii

GENERAL ABBREVIATIONS

xxiv

Illustrations follow page xxv THE MUSIC OF CHARLES IVES

I. Works for Orchestra A. Symphonies B. Sets i. Orchestral Sets ii. Sets for Chamber Orchestra C. Overtures D. Marches E. Other Works II. Works for Band III. Works for Chamber Ensemble A. String Quartets B. Violin Sonatas C. Other Works IV. Works for Piano A. Sonatas B. Studies C. Marches D. Other Works E. Duets V. Works for Organ VI. Works for Choral Ensemble A. Sacred Works i. Multi-Movement Works ii. Psalms iii. Other Works for Choral Ensemble B. Secular Works i. Chorus with Instrumental Ensemble ii. Partsongs VII. Works for the Stage A. Projected Operas B. Fraternity Shows VIII. Songs IX. Exercises A. Strict Exercises B. Polytonal and Burlesque Exercises X. Arrangements of Works by Other Composers XI. Unidentified Fragments

37

50 85 95 102 132 137

143 158 186 198 215 220

233 238 250 264 276

299 318

328 328 330

554 562 574 580

XII. Lost or Projected Works A. Works for Orchestra B. Works for Band C. Works for Chamber Ensemble D. Works for Piano E. Works for Organ F. Works for Choral Ensemble L Sacred Works ii. Secular Works G. Works for the Stage i. Projected Operas ii. Fraternity Shows H. Songs I. Work for Unknown Medium

588 603 605

612 615 622 625 626 627 629 631

Appendix 1: Ives's Work-lists

633

Appendix 2: "Quality" Lists of Works Photostated

647

Appendix 3: Song Collections

657

Appendix 4: Chronology of Significant Events in lves's Life

664

Appendix 5: Sound Recordings Made by lves

684

Appendix 6: Publishers/Copyright-Holders oflves's Music

686

Appendix 7: John Kirkpatrick's "Envoi" (in Kirkpatrick's Temporary Catalogue)

688

Bibliography

691

Concordance 1: Kirkpatrick's Temporary Catalogue Numbers to Sinclair Numbers

700

Concordance 2: AmeriGrove Numbers to Sinclair Numbers

703

Concordance 3: Numbers oflves Manuscript-Page Microfilms to Catalogue Sources

705

Index 1: Musical Models and Borrowing

715

Index 2: lves's Addresses

722

Index 3: Names

724

Index 4: Titles, Subtitles, Other Titles, and First Lines

740

PREFACE Genesis of This Catalogue After printing his Temporary Mimeographed Catalogue of the Music Manuscripts and Related Materials of Charles Edward lves 1874-1954 in August 1960, Jolm Kirkpatrick worked toward publishing a perfected version. In 1972, I joined him in New Haven to further the editing oflves's works. Kirkpatrick's fondest dream was to work together on a new catalogue. We sought in vain for adequate support to allow me to work full-time on the project. A significant step forward was made in 1975-76 when, with the aid ofKenneth Singleton, I microfilmed all the music manuscripts in what we then called the "Ives Collection." This gave the public reasonable access to the complete music holdings and yielded a new, rational system of reference numbers. In 1981 a stroke set Kirkpatrick back; there was little question that he himself could complete a new catalogue. (He used the best remaining days editing his beloved Sonata No. 2 for Piano: Concord, Mass.-an edition that evolved from one "as played by Jolm Kirkpatrick" to one representing his conclusions as the earliest and best state of the "Concord" materials.) In the late 1980s the Charles Ives Society took the initiative to oversee the preparation of a new catalogue. With funding first from the Society, then from the National Endowment for the Humanities, Paul Echols began collecting data and formulating a plan for a readable, rational, and comprehensive catalogue. His plan was applauded by all: avoid too many cryptic abbreviations and sigla, and focus the presentation by omitting some of the information in Kirkpatrick's 1960 catalogue that threatens to bury the more universally sought data. Thus, omitted here is Kirkpatrick's information identifYing the paper types for each leaf, "other music," the "see" references for the physical location of a given page in the Ives Papers, and the old negative photostat numbers. In 1990, Echols began the project in earnest, engaging assistants and filling in templates with masses of information. A significant problem presented itself: how to cite information hidden in the large unindexed collection oflves's correspondence. Echols tackled the huge task of reading through the complete collection, locating and transcribing every reference to an Ives work. With much ofthe information gathered, Echols began writing and polishing, beginning with the large orchestral-music section. None of us was prepared for the news in August 1994 that he had passed away. The Charles Ives Society asked me to take over. In May 1995, I re-organized the catalogue alphabetically rather than chronologically and identified the tasks for expanding and completing the project-then estimated as requiring some months (but it was rather some years). To Kirkpatrick's pioneering efforts this catalogue adds much information hitherto unknown or scattered, including the listing of all the various titles that Ives used in reference to his works, their exact orchestrational requirements, time durations, incipits, premiere performances, and first recordings. In addition, the sources are described in a reasonably comprehendible fashion and reordered according to the most recent research; publication information and Ives's varied borrowings from existing music are brought up to date; and information on the dating of the works, literature about them, and discography are finally all in one place. In the Comment subentry, this catalogue includes or expands on many issues of interest. In the appendixes the reader will find handy reference to some important, previously unpublished Ives documents and lists. Through the concordances one can connect to the previous cataloguing oflves's titles and the manuscript pages themselves. In the indexes there is a new listing oflves's use of existing music

PREFACE

X

and complete citation of addresses, names, and titles. Even before Kirkpatrick's important catalogue there were several halting attempts, by Ives himself and by others immediately following his death, to make sense out of the notorious chaos of his music manuscripts. The first attempt was Ives's own-a youthful assignment of opus numbers to at least his first four works. More significant was his project to photostat many of his manuscripts, started in early 1928 at Quality Photoprint Studio in New York City, an expensive but curatorially effective process. For this, Ives collected related sketches and scores and had the numerous groups of photostats stored at the Quality shop under his own numbering system. (Two oflves's lists relating to this system are reprinted in Appendix 2.) This produced 177 item numbers (with some duplication of titles and a few skipped numbers). At about the same time, Ives began, fitfully, a separate process of trying to list or at least characterize his output of music. These lists became more thorough in 1935, probably as the result oflves's project, commencing in October 1934, to put his music in some order in a huge built-in cabinet, newly constructed for him in a former horse stall in the barn ofhis country house at West Redding, Connecticut. (An early and a late version of these lists are reprinted in Appendix 1.) But Ives's "system" for Quality Photoprint Studio deteriorated into a state of chronic confusion, probably because no one there could read music. Ray Green, the new executive secretary of the American Music Center, reported to Harmony Ives on 25 May 1950 that "the master sheets [photostats] of Mr. Ives' works are in an extremely chaotic condition. As a matter of filet, a careful and thorough job of indexing needs to be done by a competent, reliable and trained musician and researcher." Immediately following Ives's death, John Kirkpatrick and the composer Henry Cowell began jointly to bring all the manuscripts into one place (drawing on their own holdings and on Ives's in his New York apartment and the West Redding music room and its barn). Alas, Ives's filing system, even with supplementary file cabinets, had become woefully jumbled. In his catalogue, Kirkpatrick descnbes the disorder he found in June 1954: "Evidently he was used to rummaging for things, pulling out whole fistfuls from underneath which then became the top layer, so that each drawer had been shufiled many times." Some identifications of manuscripts were made quickly by the two men, but a huge task lay ahead. A struggle for control of the collection ensued. It was destined for the Library of Congress before Kirkpatrick stepped in and convinced Mrs. Ives in January 1955 that Yale University was the more appropriate repository (partly because it was near Kirkpatrick's summer home in Georgetown, Connecticut, and because Yale agreed to devote a separate "I ves Room" to the storage of the manuscripts). However, the mass of nearly seven thousand pages was moved temporarily to Edith Ives's apartment in New York. There, Dr. Joseph Braunstein of the New York Public Library staff began sorting and listing. Evidence of his rudimentary system can be found written at the top of a few manuscript pages. Sidney Cowell, Henry Cowell's wife, presided over a general photostating of those pages that she believed were not covered by the Quality photostat holdings (which resulted in significant duplications). At Yale, over the following years, the extant photostat negatives were stamped on the back with a sequential numbering, and the photostating continued as Kirkpatrick identified pages that had been missed. (All these photostat numbers are listed in Kirkpatrick's Temporary Catalogue, pp. 247-63.) In the summer of 1955, Kirkpatrick took control of the project from the Cowells and Braunstein. As he politely puts it in his catalogue (p. v), "I gratefully took advantage of all that Dr. Braunstein had done, and gradually coordinated everything into a First List." An inveterate organizer with a pathological love for jigsaw puzzles, Kirkpatrick trusted no one else's work but his own. He started over with his own notes, rejoined portions of manuscripts that had been tom

xi

PREFACE

apart, and began building the most extraordinary catalogue that has ever honored an American composer's work. A later attempt to organize lves's sometimes cross-confused titles, Dominique DeLerma's Charles lves, 1874-1954: A Bibliography of His Music (1970), has not played a significant role in lves musicology. Kirkpatrick's Temporary Catalogue is available from the Yale Music Library in a reprint of its original uncorrected state. It remains important to us mainly for its identification of paper types and as a guide to the order of the manuscripts as kept in 28 boxes (each four inches deep) in the Yale Music Library's rare book room.

lves's Compositional Methods To appreciate the nature of the sources catalogued herein, one should understand lves's customary compositional methods. lves used some or all of the following steps toward producing a finished work: (I) Preliminary sketches are related groups of ideas or experiments in the juxtaposition of tunes, only briefly continuous, always in pencil, often hasty, usually on one or two staves (e.g. parts of Symphony No. 2/v, SI [12349-50]); or experiments in developmental ideas from a theme (e.g. Four Ragtime Dances, No. 2/Sl [12441], see Fig. 1). (2) Pencil sketches (rarely in ink) are an attempt to form a continuity for the various ideas (e.g. Orchestral Set No. 21~ S3 [fl258-59], see Fig. 2) usually in two-stave systems though sometimes with empty staves between them so that additional ideas can be inserted. Pencil sketches can thus evolve into score-sketches. (3) Pencil score-sketches are functional for an orchestral or orchestrally accompanied composition. They usually represent a decisive continuity, with a neatly notated "backbone" of music on two staves (rarely, written in ink) plus, usually, one to three additional staves assigned to instrumental groups such as woodwinds and brass. Score-sketches are characterized by numerous inserts and experiments for changes, written above or between the core staves; their purpose is to suggest orchestration of the basically well-formed work (e.g. Symphony No. 3/~ S2 [ID598607], see Fig. 3). (4) Pencil scores are common. They both realize all the changes in the sketch or score-sketch and test a potential completed work (e.g. Trio for Violin, Violoncello, and Piano/~ S2 [f3111-13 & 3114], see Fig. 4). When only an ink score is extant (as is often the case among the piano works), it probably indicates that a pre-existing pencil score has been discarded or lost. (5) Revised (or "extra") score pages may follow, often years later, in a process of updating a score with a re-orchestration or to a new level of sophistication (e.g. A Symphony: New England Holidays/iii [The Fourth ofJuly], S5 [ID805-13], see Fig. 5). (6) Patches-inserts into or replacements of previous music-may exist for any of the above kinds of sources, most commonly for the score-sketches and pencil scores (e.g. Sonata No. 2 for Piano: Concord, Mass.lii [Hawthorne], S5 [f3957-78], see Fig. 6), or may simply clarifY a passage. (7) Copyist copies: lves was under such time pressures (and had the sufficient means) that he

PREFACE

xii

frequently turned to copyists to produce fair copies of his pieces (see Fig. 7). He engaged some of the finest hands in New York. The copies by Emil Hanke are of outstanding clarity and style-and dutiful (he changed nothing without lves's direction). Later in lves's life a few of his musician friends served as copyists/editors. Henry Cowell, John J. Becker, Lou Harrison, and George F. Roberts, in particular, produced scores in which they were partners with lves in editing (and/or arranging) the material for their fair copies. One of the major problems with lves's manuscripts is that many are layered with various stages of reworking. In the 1920s and 1930s lves returned to many ofhis earlier creations to prepare them for possible performance. In doing so he usually reconsidered thoroughly the details of the composition; the form and basic content would remain the same, but the complexity ofthe individual lines would usually increase. lves did not just mark up his latest score; instead, he often turned to an original score-sketch or even earlier sketches and marked new ideas directly onto the older materials. Thus the old and new frequently commingle on lves's sketches and early scores. This is observed strikingly in the score-sketch (for version 1, S2) toward the second movement (Putman's Camp, Redding, Connecticut) of Orchestral Set No. 1: Three Places in New England. Another problem is that lves sometimes reused earlier materials, reworking them into different versions. (This phenomenon is outlined specifically for certain works in the Derivation field.) This process can manifest itself in any of a number of ways: (I) Several smaller pieces can be combined in a single larger work (e.g. "Country Band" March and Overture and March "1776," dovetailed into the second movement [Putnam's Camp, Redding, Connecticut] of Orchestral Set No. 1: Three Places in New England).

(2) A whole piece can be broken into smaller parts (e.g. the Four Transcriptions from "Emerson" reworked from the first movement of Sonata No. 2 for Piano: Concord, Mass.). (3) A work conceived for small ensemble can become a full orchestra piece, or vice versa (e.g. Decoration Day, begun as a piece for violin and piano, then expanded to full orchestra, which was then arranged again for violin and piano); or, even more typically, a work conceived in one medium can be shifted to another (e.g. Postlude in F, or each movement of Symphony No. 3: The Camp Meeting, from organ to orchestra). (4) Improvised music can be set to paper (e.g. the studies for piano). (5) Music on paper can be recorded in highly improvised versions (e.g. Ives's performance of parts ofthe Four Transcriptions from "Emerson"). (6) A portion of a short piece can expand into a much longer one (e.g. the part of Prelude on "Eventide," which became the first movement [An Elegy to our Forefathers] of Orchestral Set No.2). Markings on the Music Manuscripts Ives's manuscripts have two kinds of markings that may confuse the observer. One is "No Photo" written at the top margin of some pages and/or a large "X" written across the page; these do not indicate Ives's rejection of the music but rather are directives to Quality Photoprint Studio not to photostat pages unrelated to the project at hand. The other is tiny measure numbers added in the side margins, neatly notated by John Kirkpatrick in the process of identifying lves's manu-

xiii

PREFACE

scripts. (Some of these measure counts will not match those in Ives Society critical editions.) Measure counts within the music manuscripts are always Ives's own.

Location of Ives's Music Manuscripts Today Nearly all oflves's manuscripts are safely collected in one place, the Charles Ives Papers (MSS 14) in the Music Library of the Yale University School of Music, New Haven, Connecticut. (For years after their arrival at Yale University in September 1955, these manuscripts were known as the "Ives Collection.") Only a few manuscripts are housed in other collections, as noted in the appropriate Source subentries ofthis catalogue. Index 4 has entries for the following ancillary locations: New York Public Library (Becker Papers), the Library of Congress, and the Pierpont Morgan Library (New York City). At present the Henry Cowell Collection (New York Public Library) of personal papers is not available for inspection, though Sidney Cowell always maintained that no music of Ives is among them. Some small items are in private hands, including in the papers of Herman Langinger (which have not been thoroughly searched for whatever materials might survive from his remark-able work on the second movement of Symphony No. 4 and some of the songs) and in the papers of Mordecai Bauman. John Kirkpatrick made extraordinary efforts to find any church music left by Ives in Central Presbyterian Church's library when he resigned as organist there in 1902, but during the congregation's relocations in 1915 and 1929 any manuscripts of music by Ives must have been discarded. The Yale Music Library also holds the John Kirkpatrick Papers (MSS 56), which contain a large amount of material of importance to Ives research, including correspondence with Ives and his extended family, editions and arrangements of music by Ives, and other materials concerning Ives's life and music.

Ives Society Critical Editions The Charles Ives Society, Inc., was founded in 1967 by John T. McClure (of Columbia Records) and a board of directors that included Leonard Bernstein, Aaron Copland, Oliver Daniel, John Kirkpatrick, and William Schuman. Despite the best of intentions, their agenda never got off the ground. In spring of 1973 the Society was resuscitated by H. Wiley Hitchcock and Vivian Perlis, and its board was enlarged to include an active group oflves scholars, editors, publishers, and performers. The reactivated Ives Society began by helping to signal the centenary of Ives's birth with the first international congress ever to be centered on an American composerthe Ives Centennial Festival-Conference (October 17-21, 1974), directed by H. Wiley Hitchcock and Vivian Perlis and sponsored by the Institute for Studies in American Music at Brooklyn College (CUNY) and the Yale University School of Music. Subsequently, the Ives Society dedicated itself mainly to the support of editors preparing critical editions oflves's music; this catalogue records all such completed or forthcoming critical editions. Although some of the approved and published Ives Society Critical Editions include complete critical commentary, others (especially among the orchestral works) have only selected commentary, the complete critical commentary being viewable at the Yale University Music Library or available for purchase from the relevant publishers.

PREFACE

xiv

Organization of the Catalogue This catalogue is organized by genres-first the genres with works for which source materials are extant (Sections I-XI), then those with works for which no sources are presently known (Section XII). Within each genre, the works are arranged alphabetically by title, except for works in numbered series, such as symphonies, sonatas, and string quartets, etc., which are listed in numerical order. (A chronological ordering, even within a genre, would be too speculative to be attempted here.) Each entry includes, to the degree possible, (1) the main title and any other titles that Ives may have used; (2) the forces required; (3) the duration (in timing and measure count, and with tempo indication); (4) headings of movements (and their duration and forces); (5) the work's sources; (6) the work's dating(s) (starting with a summary target dating); (7) its publication history; (8) citation of its first known performance and first recording; (9) its derivation, listing music on which a piece may be modeled or from which it may borrow material; (10) the principal literature treating a piece; and (11) commentary on any of the above or other matters. (For a complete description of each of these subentries, see the section "Using This Catalogue.") Classifying works by genres is not always a straightforward task. Take lves's orchestral works for example. These are divided here into symphonies, sets, overtures, marches, and a general category. This yields six of his works with the designation "symphony" in their title. But lves told his wife at one point, probably before commencing his Universe Symphony and his Orchestral Set No. 3, that he had composed seven symphonies. He must have been referring to the four symphonies now numbered and titled as such, the "Holidays," and the first two orchestral sets. One might argue, then, that Ives wrote nine symphonies (as Kirkpatrick has it in his Temporary Catalogue). But, since "sets" were so important to Ives, here the three orchestral sets are listed under their own heading; they are followed by Ives's three numbered chamber-music sets, seven others editorially numbered, and the Set for Theatre Orchestra. In fact Ives's total "set" count is much larger than this grouping. Index 4, under "Sets," lists thirty works that have the designation in their titles, and Ives himself would have gone yet further to include his Three Outdoor Scenes, A Symposium-Five Movements for Orchestra, Two Contemplations, and at least a dozen other titles (including the "sets," such as "Five Street Songs and Pieces," that Ives indicates in the "Index" to 114 Songs). As Sidney Cowell said in the Cowells' biography oflves (1955, pp. 20809): "lves has sometimes played on the word SET, which may mean a group of pieces more or less like a suite; or a musical setting of a text; or a setting (i.e. a sitting-down-together of players) for a specified number of people; or, finally, a specified setting of instruments, as it might be a place setting-knife, fork and spoon-at table. Or he may mean any two ofthese at once, or all of them." Grouping large and small orchestra works in one class does not avoid confusion. It can be difficult to define whether a piece is for small orchestra or large chamber ensemble. Holiday Quickstep is clearly a chamber piece when you count the mere six musicians absolutely necessary for performance, but it seems better to include it here under orchestral works (within the genre of "marches"). The Unanswered Question is playable by only nine musicians but is more often played (and known) in performances by a full body of strings plus winds. Some works, such as The Gong on the Hook and Ladder, exist in several versions for completely different types of ensembles; here the different versions are entered separately under the respective categories. Some multi-movement works collect under their title a wide variety of ensemble requirements. In Set No. 1, for instance, some movements need only five musicians; others, however, because of multiple strings, need no fewer than twenty-one. Songs that require more than the usual singer and keyboard player remain categorized as

XV

PREFACE

songs (i.e. #206, 262, 315, 319, 352-53, 356, 371, 381). The expanded instrumentation ranges from the added violin in Sunrise to the incorporation of a string quartet (or string orchestra) in Aeschylus and Sophocles, use of a brass trio in Song for Harvest Season, and invitation fur choral responses in The Collection. Even classifYing works as extant or lost is fraught with difficulty. It is handled simply here: a work with one or more certifiably valid manuscript source, no matter how incomplete, is deemed extant. Thus, the Alcott Overture, of which only seven measures survive, is here classified as extant. On the other hand, a work here categorized as "lost" (because no direct source survives) may even be published-as is the Quarter-Tone Chorale for Strings (in a reconstruction inspired by lves's lost original version). Additionally, to some "lost" works we assign ''possible" sketches, patches, or fragments; none of the material mentioned for them is adequate to allow them to be called extant (see #x671-72, x678, x691, and x712). The irony continues: among the compositions designated as "projected" under Lost Works, some are actually performable. lves frequently named several extant pieces under a collective title (e.g. Set for Orchestra: Tone Pictures of Some Bygone Days, which he imagined as including The Rockstrewn Hills, Calcium Light Night, Yale-Princeton Football Game, Central Park in the Dark, and The Unanswered Question) but went no further than listing them together.lfhe had bound the photostats together (as he did for the "extant" Set No. 8: Songs without Voices) then we would have categorized it as extant.

Exclusions from the Catalogue This catalogue excludes a handful of works that are included in Kirkpatrick's Temporary Catalogue: a supposed piano march "March III-the 2nd #3" [KirkC: 3B7] (speculative); a partsong "Love does not die" [504] and a song "Magnificat" [6B15c] (not Ives, exist only in copies by copyists who did not otherwise work for lves); "Music and Writings of George E. Ives" [7Al6] (in George Ives's copybook [7A2]-Qnly the music written by Charles lves is included here); "Diagrams ofTriads and Key-Signatures" [7B8] (Elisa Ely Garrison's tutoring material); "Diagram of Triads" [7B19) and "Diagram of Scales" [7B20] (both are Moss White lves's tutoring material); "Burlesque Song-Opening" [7C24] (Edith lves's); and "Ave Maria" [7D6] and "Moment by Moment" [7D7] (both judged not to be arranged by lves-probably copies of arrangements used in church services). Additionally this catalogue includes only those arrangements oflves's music tbat were produced with his approval or supervision (e.g. John Becker's orchestration of General Booth Enters into Heaven and Henry Cowell's version of the fifth movement [Calcium Light Night] of Set No. 1); it does not include creative orchestrations (e.g. Schuman's arrangement of Variations on "America").

ACKNOWLEDGMENTS All scholarship in the life and music of Charles Ives owes a debt of gratitude first to John Kirkpatrick. During Ives's lifetime Kirkpatrick was one of the composer's most potent champions--the performer who first presented the complete Sonata No. 2 for Piano: Concord, Mass. ( 1938) and coached and accompanied many other performances, especially of the songs. After Ives's death, Kirkpatrick published critical editions of fifty-four songs and numerous other works by Ives as well as a meticulous edition-with twenty-one appendice~flves's longunpublished Memos. He wrestled the jumbled manuscripts into an astonishing catalogue, which remains, for its unique content, irreplaceable. His personal copy of the Temporary Catalogue ("Copy 7"), with his copious emendations, served as a starting point for the present effort. Kirkpatrick introduced me to Ives scholarship in 1972 and was my mentor and friend for the next twenty years. This catalogue may be considered appropriately the realization of his unfinished work. This was a large project and many scholars and researchers were needed. The first of these was the brilliant Paul C. Echols, who planned the shape of this catalogue and spent parts of four years collecting and inputting data toward it, assisted first by John Holzaepfel and later by Jason Stanyek. Echols lived to see into a publishable condition only the entries for the large orchestral literature. He stands along with Kirkpatrick as the guiding spirit for every page of the completed catalogue. Of special importance to this project was Echols's exhaustive reading oflves's complete correspondence and related materials: for the first time ever-and so well that it was perhaps for the last time-he transcribed every paragraph that mentions an Ives composition. J. Peter Burkholder brought to the catalogue his magnificent command of information on Ives's uses of existing music. The catalogue is much the better for its Models and Borrowing subentries, for each of which he was wholly responsible. In addition, he joined H. Wiley Hitchcock in a continual involvement in the development of every aspect of this catalogue's content and style. No one could be luckier than to have Wiley Hitchcock as a partner in scholarship, and I was particularly fortunate to have access to his research on Ives's songs. A new generation oflves scholars joyfully aided this project. All worked over entries or genres that fell under their particular expertise: Geoffi'ey Block (literature), Gayle Sherwood (choral manuscript dating), Donald Berman, Thomas Brodhead, Jonathan Elkus, Philip Lambert, Alan Mandel, David Porter, Wayne Shirley, and Kenneth Singleton (entries related to their editions of music by Ives). David Porter also proofread earlier drafts, making certain that every microfilm number is in its proper place, and applied a minutia-retentive mind to the hundreds of pages concerning the orchestral and other instrumental music. Thomas Brodhead brought an extraordinary command-in Ives's music, unparalleled-{)fthe computer engraving of music. He took over the job of fashioning the incipits after the death of our first engraver Gary Wilcutts. Thomas Owens did yeoman's labor in searching for answers to the many niggling queries that remained in the last months of the catalogue's preparations. Jan Swafford supplied to me extensive material gathered in his research for his fine biography Charles lves: A Life With Music (1996); this was used to improve this catalogue's chronology oflves's life (Appendix 4). I have included in this catalogue a subentry for First Recording. We have reached a point where recordings are as important as premieres (at times they have become one and the same). Richard Warren, curator of Yale University's Historical Sound Recordings Collection, helped

xvii

ACKNOWLEDGMENTS

construct the First Recording subentries of this catalogue, adding to his published Ives discography (1972) data on the relevant subsequent recordings. (Despite his ability to locate even the most obscure Ives recordings, we both hope and expect that some new information will come to light after the publication of this catalogue.) This project benefitted from Vivian Perlis's excellent register (1983) ofthe papers ofCharles Ives (not including the music manuscripts) and her ground-breaking research in oral history collected from Ives's family, associates, and friends. The staffofthe Yale Music Library is magnificent and a real friend of Charles Ives. At times members are forced to make it their lives; the Charles Ives Papers is the most actively used music archive at Yale. Suzanne Eggleston, the library's public service assistant, delighted me with her enthusiasm and talent for tracing elusive details within the library and over the Internet. Kendall Crilly, who, as this catalogue progressed, ascended from graduate student assistant to the position of Yale's music librarian, gave steadfast support to my constant needs and requests. At Yale University Press, Harry Haskell, music editor, gulped only once when presented with a catalogue some 250 percent longer than that proposed in early 1989 for publication. I also thank Paul Royster, design and production manager, for approving my own design for the catalogue. In putting all text on the word processor, I was able to maintain the accuracy of the data and its font attributes--and to develop new skills and tendinitis. I owe a debt of gratitude to the three principal publishers of I ves' s music for answering many questions about publications and copyright holdings: G. Schirmer, Inc. (particularly Susan Feder), representing Associated Music Publishers; Peer International Corp. (particularly Todd Vunderink); and Theodore Presser Co. (particularly Arnold Broido and Daniel Dorff), representing Merion Music. This project was made possible in part by a generous grant from the National Endowment for the Humanities. The Charles Ives Society supported earlier and subsequent stages. After all this collective effort, we might note that Ives pokes fun (typically) at such pursuits (below a positive photostat repro of In Re Con Moto eta/. [#072, S1, f3152]):

After [this} has been put in order, will it be in order to have it in order- Rollo? We hope so.

USING THIS CATALOGUE General Organization The titles are organized alphabetically within the genres that are significant in Ives's output (see Prefilce). Works in numbered series, such as symphonies, sonatas, and string quartets, etc., are listed in numerical order. In quoting Ives's memos and marginalia on his manuscripts, line breaks are often provided, indicated by a slash mark ( I ).

Entries Number:

The works in this catalogue are numbered sequentially from 1-728. Works with any kind of extant manuscript sources are catalogued in section I-XI (entries 1636). Works for which no manuscript source survives are catalogued in section XII (Lost or Projected Works; entries x637-728); their catalogue numbers are preceded by an ''x" to distinguish them from extant works (especially helpful when reading in the Derivation subentry). Throughout the catalogue, works are crossreferenced using three-digit numbers preceded by the number-sign# (e.g. the Universe Symphony is cited as "#006").

Title:

The main title of a work is generally lves's preferred title (as given on manuscript pages or in his work-lists), sometimes edited for uniformity. Thus "Three Places in New England" is catalogued here as Orchestral Set No. 1 (with its popularly known title as an extension). When titles are supplied editorially, this is noted in the first sentence of the Comment subentry. When Ives used more than one title to refer to a work, titles other than the main one are given below in the "Other Title(s)" subentry. After some titles, we qualifY the condition of the work if it lacks critical materials. These qualifications are as follows: (I) inc. [incomplete]: This indicates a work so lacking in critical material that it is wholly or partially unperformable as it stands; lves may have left the work unfinished or material may be missing. Some of these incomplete works are as substantial as the Overture in G Minor [#025) (with nearly 300 measures extant), or as slight as Study No. 10 [#098] (with merely five quarter-note beats extant). Some "incomplete" works, such as "Country Band" March [#036], have been conscientiously reconstructed and are now published. (2) mostly lost: This is used only when a work is believed to have existed in a more substantial condition but for which there now is close to nothing of it extant (e.g. the band piece Schoolboy March in D and F, Op. 1 [#056], for which we have only Ives's citation of the opening tune). (3) lost: This indicates a work of which only the title is extant, as listed in the catalogue's section XII (Lost or Projected Works). A few "lost" movements are noted elsewhere in the catalogue when they are part of an otherwise extant work. ( 4) projected: This indicates a work or movement which Ives seems to have planned but for which he left no manuscripts. In some cases the plans are substantial enough to list the piece(s) with the extant music (e.g. Set No. 6 [#015] for which Ives gave us the group title From the Side Hill and provided explicit plans for the orchestration of three of the four songs that are intended as movements). Another type of projected works is listed under section XII (Lost

xix

USING THIS CATALOGUE

or Projected Works). These pieces or groupings (e.g. the Walking Suite [#x660]) have no manuscripts that can be attributed specifically to them and amount to suggestions and wish-lists on which Ives apparently never followed through. Subtitle:

Most title extensions are given not with their main title but rather in the separate subentry "Subtitle" (e.g. Yale-Princeton Football Game [#051], subtitled "Two Halves in Two Minutes").

Other title(s):

Ives often used colloquial titles for works, and all such titles, unedited, are cited in this subentry. The numerous ones for A Symphony: New England Holidays are an extreme example. The source of at least one (usually the unique) source of an additional title is cited in square brackets following that title (e.g. From the Steeples and the Mountains [#065] has an additional title cited, followed by "[see Quality List 2, p. 6a]").

Medium:

The required instruments for larger groups are noted in standard score order using a code of numbers grouped as woodwinds, brass, percussion and keyboards, and strings (each group separated by a semicolon). An example: 2-2-2-2; 1-1-1-1; dr set, pf; str [2/2/2/2/1 minimum]

Translation: flutes, oboes, clarinets, and bassoons in pairs; one each of French hom, trumpet, trombone, and tuba; a drum set, piano; and strings (at least two each of violin 1, violin 2, viola, and cello, and one string bass). Other situations are indicated as follows: Alternative choice of instruments: "Eng hn/tl/cnt" indicates that English hom, flute, or comet may play the part (in that order of preference). Doubling: For flute, "1(picc)" indicates that the flutist must double on piccolo; for clarinet, "3(E' cl)" indicates that one of the clarinetists must double on E' soprano clarinet. Optional instruments are listed at the end of the citation. Uncertain needs are enclosed in parentheses; for brass, "4-3-3-(1)" indicates that a tuba may be required (the manuscript score line may be assigned but empty or may be cut oft). The number of percussionists required is not estimated in this catalogue. In many oflves's orchestral pieces the cymbals are expected to be rim-mounted on the bass drum and played by one player. In most of the pieces for small orchestra the combination of snare drum, bass drum, and cymbals is expected to be played by one player at a drum set. Duration:

Durations are approximate, given in minutes and partial minutes (rounded off to the nearest half minute or, in shorter works, to the quarter minute). For long works a duration span taken from available recordings follows in parentheses. Measure counts follow those of the published score; for unpublished works, the counts are taken from manuscripts or unpublished critical editions (as noted). Where works or portions of them are unmeasured or not consistently measured, this is noted.

USING THIS CATALOGUE

XX

Finally, the work's tempo heading (or a summary of its tempo headings [e.g. Adagio-Allegro-Largo]) is supplied. Movements: For multi-movement works, the title, subtitle, other title(s), tempo heading(s), duration, forces, and incipit are given for each movement. Incipit:

The first several bars are given (in short score if desirable) along with citation of its source in either a manuscript page (identified by microfilm frame number) or a published score (identified by publisher and year of publication). Incipits based on publications are arranged as necessary (e.g. reductions from orchestral scores), but are unedited and true to the published texts (those based on forthcoming publications being noted as such); metronome markings have not been included. Incipits based on Ives's manuscripts are unedited, diplomatic facsimiles (except as noted by an editor's name).

First line(s): For a work with text, the first line or so of the text (sometimes the first line of each of several stanzas) is given as in the published edition or as in the unpublished manuscript. Line breaks are indicated by a slash mark (I). (Texts and their punctuation are unedited from 114 Songs or other sources.) Text:

For works with text, this subentry traces the provenance of the text, its early publication, the source Ives may have used, and the lines of text used by Ives.

Source:

Each source is identified by its microfilm number(s), prefixed by the letter "f." (It should be noted here that Ives's musical manuscripts are foldered in the Charles Ives Papers at Yale University according to the order in Kirkpatrick's Temporary Catalogue.) Additionally, we cite Ives's own private recordings of some of his works. The sources for each work (and each movement within a multi-movement work) are listed in their apparent chronological order, following either the order in the Ives Society critical edition (when available) or new research toward this catalogue; at times this differs from the order given in Kirkpatrick's Temporary Catalogue. A source that covers all of a multi-movement work is listed last under "Complete Work." The following terminology is used: fragmentary sketch (experimental and not continuous); sketch (continuous); score-sketch (short score); full score (usually one staff per instrument); patch (a revision or clarification sometimes crossreferenced by Ives using one of several symbols [e.g. 1!!1 or 0]); and photostat repro (a photographic positive made from a master negative).

Date:

No area oflves research has produced more problems and controversy than that of the dating of his individual works. Given the nebulous state of the chronology of Ives's compositions, the first date given in this subentry is a known date or an estimate based on available data and new research. Next are cited Ives's own dates found in his manuscripts, Memos, diaries, correspondence, and work-lists and in works published during his lifetime. A significant part oflves's dating of his own manuscripts was done in the 1930s when his rising fame demanded that he be more specific about his output; his datings are variable in their dependability. Finally cited are the dates given in Kirkpatrick's Temporary Catalogue (KirkC) and the New Grove Dictionary ofAmerican Music (AG). For choral music, we have the

xxi

USING THIS CATALOGUE

unique benefit of Gayle Sherwood's research. In this geme alone, the first date given for a work relies on her information (usually opting for the earliest of the date-range she gives, since it often collates well with Ives's retrospective dating). Publication: The publication history of the work and important copyright assignments are discussed chronologically (without purporting to present an official copyright record). The rights to unassigned works reside with the American Academy of Arts and Letters. Premiere:

The first public performance of the work (if known) is listed, together with selected reviews. Iflves reported (usually in Memos) an early reading or private performance, this is also noted. Although the premieres of most ofthe major orchestral and chamber works are clear, those of many of the smaller works are not; for many, all that can be offered is a "first documented performance," with the understanding that future research may establish earlier dates.

First recording:

The first commercially released sound recording of a complete work is cited here, followed by citation of recordings of individual movements (if released earlier than that of the complete recording). This information is drawn from Richard Warren's 1972 discography and the encyclopedic holdings of the Historical Sound Recordings Collection at Yale University. The year of release is the deciding factor, though date of recording is rarely at odds with the release. Given their unique importance, lves's own private recordings are always noted, even though their first (partial) release was not until 1974.

Derivation:

Works that are related to each other by way of common material are identified as either derived from or developed into the work. Works are traced to their immediate source; that source itself may derive from other antecedents. (A gray area exists between "derivation" and "borrowing"; some such instances are cited in this subentry but might be equally regarded as self-borrowing.)

Models:

This subentry lists pre-existing music that Ives used as models for establishing structure or style in his music. The information (and that in the next subentry) is based on J. Peter Burkholder's research.

Borrowing:

This subentry lists pre-existing music that Ives used in sometimes subtle ways, material taken from hymns, gospel songs, patriotic and popular songs, college songs, dance tunes, and classical works. Titles of songs and instrumental pieces are italicized; hymn tunes are given in large and small caps (e.g. BETHANY). Some of what might be considered Ives's "self-borrowing" is treated under Derivation.

Literature:

Important literature concerning a work is listed here beginning with its numbers in John Kirkpatrick's Temporary Catalogue (KirkC) and the Ives entry's work-list in the New Grove Dictionary of American Music (AG), followed by (whenever applicable) the page citations in Ives's Memos and Henderson's Tunebook. Next cited are the entry codes in Block's Rio-Bibliography. Last are references in biographies (starting with the Cowells') and other printed sources (in chronological order).

Discography: Discographies that have appeared are cited in chronological order, starting with

USING THIS CATALOOUE

xxii

the earliest (David Hall's in Stereo Review) in October 1964.

Comment:

This relates to matters in the above subentries, and offers other information and explanations.

End Matter Appendix 1: Work-lists

Appendix2: Quality Lists

Appendix3: Songbooks

Appendix4: Chronology

Appendix 5: Recordings

Appendix6: Publishers

In addition to describing all oflves's work-lists, this appendix transcribes the two most interesting: List B (c 193 7) and List G ( 1951 ), each full of title variants and informative juxtaposition of works. In addition to describing all the "Quality" photostat lists, this appendix transcribes two: List 2 (cl934), the most complete, and List 10 (1941 ?), giving the contents ofthe chamber music volumes of photostats that Ives distributed to enthusiasts. This lists Ives's five manuscript collections of songs and the fourteen published songbooks. This is a chronology oflves's life, including most events mentioned in his Memos, diaries, manuscript marginalia, and correspondence; it also cites the premieres, first publications, and first recordings of works during Ives's lifetime. This lists the music on the private recordings made by Charles Ives, 1933-43, in New York and London. This lists Ives's private printings and the two dozen publishers that have published Ives's music (and referenced to their titles).

Appendix 7:

This reprints the "Envoi" of John Kirkpatrick's Temporary Catalogue.

Bibliography

This lists the writings cited in this catalogue.

Concordance 1: This is a concordance between the catalogue numbers in John Kirkpatrick's Temporary Catalogue and those in the present catalogue. KirkC Concordance 2: This is a concordance between the numbers in the work-list by John Kirkpatrick and Paul Echols in the entry on Ives in The New Grove Dictionary of AG American Music and those in the present catalogue. Concordance 3: This lists, in numerical order, the frame numbers of the microfilms oflves's music manuscripts in Yale University, School of Music, Charles Ives Papers, Microfilm and identifies the work (or works) represented on each page. Index 1: Borrowing

This indexes Ives's use of existing music as listed in the Borrowing subentries.

xxiii

Index 2: Addresses

lndex3: Names

Index 4: Titles

USING THIS CATALOGUE

This lists lves's various addresses--residential (19); educational (4); church (9); business (8); and the principal vacations (11)-identif)ring the works on whose manuscripts the addresses are mentioned. This lists names found in the Text, Source, Date, Publication, Premiere,

First Recording, and Comment subentries (excluding information in the Titles, First lines, Derivation, Models, Borrowing, Literature, and Discography sub-entries). It includes writers, hymn tune and song composers, friends, copyists, performers, concert presenters/sponsors, concert halls, reviewers, editors, recording companies, and some correspondents. Many of the persons listed are identified by their relationship to Ives. This lists titles and more: main titles (in italic), additional titles, colloquial

titles, movement titles, superscriptions, dedications, and first lines of text. Also included are various genres such as "German texts, songs with," "Songs" (indexing al1207 oflves's song titles), "Sonatas for piano," "Sonatas for violin," and "Symphony." Titles for works now judged not to be by Ives (and therefore not included in this catalogue) are also included, with crossreferences to their entries in Kirkpatrick's Temporary Catalogue.

GENERAL ABBREVIATIONS < > A a ABC accdn accomp ad lib. AG alt fl anon. Apr arr. asst. attrib. Aug B b b. bel bdr Bar bar bf BlockB bn

c cast cbn CBS eel ch Chap. chmbr CIP

c1 cnt coiL comp. cond. corr.

equivalent to developed into developed from alto, contralto [voice] alto [instrument] American Broadcasting Company accordion accompaniment, accompanied (by) ad libitum American Grove [see Bibliography] alto flute anonymous, anonymously April arrangement(s ), arranged (by) assistant attribution, attributed (to) August bass [voice] bass [instrument] born bass clarinet bass drum baritone [voice] baritone [instrument] before Block Bibliography [see Bibliography] bassoon circa castanets contrabassoon Columbia Broadcasting System; CBS, Inc. celeste chimes chapter chamber Charles Ives Papers [see Bibliography] clarinet cornet collection, collected (by) compiler, compiled (by) conductor, conducted correction( s), corrected (by)

CT cym

Connecticut cymbal(s)

d. db Dec dir. diss. div. DMA DMus dr

died double bass (string bass) December director dissertation divisi Doctor of Musical Arts Doctor of Music drum(s)

ed. edn e.g. Enghn ens euph ex., exx.

edited (by) edition exempli gratia (Latin: for example) English horn ensemble euphonium example, examples

f facs. Feb fl fl.

microfilm frame no. facsimile February flute flourished

glock gui

glockenspiel (orchestra bells) guitar

hd hn hp

hand(s) horn harp

i.e. Inc. inc. incl. instr intro ISCM

id est (Latin: that is) Incorporated incomplete includes, including instrument, instrumental introduction International Society for Contemporary Music

Jan

January

kbd KirkC

keyboard Kirkpatrick Catalogue [see Bibliography]

L.

line (of music staves)

ABBREVIATIONS

XXV

LH

left hand

m.,mm.

measure, measures Master of Arts March marimba medium mezzo-soprano minute(s) miscellaneous Master of Music Minnesota manuscript, manuscripts movement, movements

MA Mar mar med Mez min. misc. MM MN

MS,MSS mvt, mvts NBC n.d. no., nos. Nov n.p. NY ob obbl Oct oct., octs. op. o.p. opt. orch

National Broadcasting Company no date (of publication, of writing) number, numbers November no place (of publication) New York

org

oboe obbligato October octave, octaves opus (Latin: work) out of print optional orchestra, orchestral, orchestration, orchestrational organ

p., pp. PA perc perf. pf pice prep. proj. pubd pubn

page, pages Pennsylvania percussion performance, performed (by) piano piccolo preparation projected published (by) publication

qnt qt

quintet quartet

red rej. repr. repro rev. RH

reduction, reduced (for) rejected reprint, reprinted (by) reproduction(s) revision, revised (by) right hand

s s

source(s) soprano [voice] soprano [instrument] saxophone Section September San Francisco .snare drum sordino (muted) Saint string(s) supplement, supplementary suspended cymbal

sax Sec. Sept SF sn dr sord. St. str suppl. sus cym T

t tamb tbn timp t.p. tpt tr trans. transcr.

tenor [voice] tenor [instrument] tambourine trombone timpani title page trumpet triangle translation, translated (by) transcription

unacc. unf.

unaccompanied unfinished United States

va

viola violoncello violin volume, volumes

u.s.

VC

vn vol., vols. WPA ww

Works Progress Administration woodwind(s)

xyl

xylophone

Fig. 1. Preliminary sketch (f2441) of material used in the second of Four Ragtime Dances and in mvt. ii" of Piano Sonata No. 1; at the beginning of lines 7-8 is a patch for mm. 99-100 of the full score of The Fourth of July (mvt. iii of A Symphony: New England Holidays). The measure numbers in the margins were added later by John Kirkpatrick. Copyright© 1954 Peer International Corp.

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44

008 SETS

ii. The Rockstrewn Hills Join in the People's Outdoor Meeting (Allegro; 4:30 min., 183 rnm.). Other title(s): The Rockstrewn Hills Join in a People's Outdoor Meeting [see Memos, p. 92]; Ragtime [seeMS Work-list 3] . Medium: Picc-1-0-3-2; 0-4-2-1; timp, perc (sn dr, b dr, cym, tr), ch, pf, org/str; str. r--1----,

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iii. From Hanover Square North, at the End of a Tragic Day, the Voice of the People Again Arose (Very slowly-Andante rnaestoso; 9 min., 119 rnm.). Other title(s): I[st] W. W. March [seeMS Work-list 3]. Medium: 2-0-2-0; 2-4-3-1; perc (sn dr, b dr, cym, gongs, tr), accdns, pf, org; str (opt. tpt 5, tbn 4, theremin); Distant Choir: Hn/cVEng hn, ch [low bells], pf, hp, 2 vn, va, 3 db (minimum) (opt. unison chorus). (see Comment) Very slowly Intoned (unison chorus)

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Source: i. An Elegy to Our Forefathers I. Fragmentary pencil sketches, 5 pp. (£125657, 1259, 3267, 3816). 2. Pencil sketch, mostly on 3-stave systems, inc. (toward rnm. 1- 35, 37-41 only), 2 pp. (£1258-59).

3. Pencil score-sketch [made c 1914] on 5-stave systems, headed "1," inc. (rnm. 18-23 and part ofm. 37 cut off), 2 pp. (£1260-61). 4. Pencil full-score fragment (rnm. 1-12 only), I p. (fl262). 5. Rev. ink full score, with annotations for Emil Hanke, inc. (rnm. 12-48 only), 7 pp.

45

SETS

008

(fl263-69). (see Comment)

(fl320A-34).

ii. The Rockstrewn Hills Join in the People's Outdoor Meeting 1. See sources of the Four Ragtime Dances, nos. 1-3, from which this mvt was partly derived: No.1: Pencil sketch, pp. 3-5 (12452-54); ink score-sketch, pp. 1-5 (12464--68). No.2: Pencil sketch, pp. 1-2 (12450-51); ink score-sketch, pp. 6-9 (12469-72). No. 3: Pencil sketch, pp. 6-8 (12455-57); ink score-sketch, pp. 9, 12-14 (12472-75). 2. Fragmentary pencil sketches, 3 pp. (fl27071, 3689). 3. Pencil score-sketch [made c1914], inc. (some measures Jacking or partly tom oft): t.p. "2nd" with instr list below (fl272); 8 pp., headed "II (from Rag Time pieces I for small orchest[ra] 1902" (fl273-80). 4. Ink full score, headed "II," inc. (Jacking pp. 10-11 of20, numerous nun. Jacking or cut oft), 18 pp. (fl281-82, 1284-96, 1298, 130001); photostat repro ofpp. 18 and 19 with corners complete (fl297, 1299). Replacement p. 20 with rev. nun. 176-83 (fl303); photostat repro of this p. with comers complete (fl302); instr list, 1 p. (fl283). 5. Ink patches and inserts for S4, 3 pp. (fl304, 1306-07) [fl305 has unidentified markings]; ink patches for S4, perc. parts only, 2 pp. (fl308-09).

Complete work Ink copy in full score by Emil Hanke, 50 pp. (Roman numerals used as mvt headings), with lves's pencil and ink emendations and annotations: i., pp. 1-8, photostat repro oflost original pages (fl336-43). ii., pp. 9-33 (fl344-68). iii., pp. 34-50 (fl369-85).

iii. From Hanover Square North, at the End of a Tragic Day, the Voice ofthe People Again Arose 1. Fragmentary pencil sketches, 4 pp. (fl31013). 2. Pencil score-sketch [made no earlier than 1919] on 4- to 5-stave systems, inc. (Jacking nun. 97-100, 108, 117-19): t.p. "III'' (f8019); 6 pp. (fl314-19); blank score p. with partial instr list in LH margin (fl320). 3. Lost pencil full score [made after 1925] (referred to in annotations on S4 [pp. 5, 10, 13]); patch (nun. 110-13) intended for this score, 1 p. (fl335). 4. Rev. ink full score, with annotations for Emil Hanke, inc. (lacking pp. 3-4 [nun. 2752] and 11-12 [nun. 87-95] of19), 15 pp.

Date: Assembled/reworked cl919 from material composed c1909-19; revised c1925; Hanke's ink score made c1930. Dated 1915 in the ISCM 1930 catalogue; dated "1911 to 1915" in Work-list A, emended in all later work-lists to "1912-15." Two source pp. contain dates: mvt i (S4, p. 1 [fl262]), ''Nov 28 1909"; mvt ii (S4, p. 20 [fl301]), "2nd Orchestral Set (Rag) Pells NY Sep 1909." Mvt ii (S4, p. 1 [fl281]), "1st written as short series of ragtime I pieces for small orchestra, shown to [Franz] Kahenbom I [for] St. Nicholas Rink Concerts NY 1902[-]said too hard I to play! I then [became] 3 Pianolas 1902-10 [probably a facetious remark], put in arranged llst Piano Sonata around 1909-10 I or scored 1909." In Memos, lves noted that mvt i "must have been scored some time before May 1913" (pp. 91-92), mvt ii was "completed and fully scored in 1911" (p. 92), and mvt iii, which he began shortly after the sinking of the Lusitania on 7 May 1915, was "completed and all scored (as it stands now) in the fall of that year, 1915" (p. 93). AG:- (i: 1909; ii: 1909; iii: 1915). Publication: 1. New York: Peer International, 1971 (rental score [photographic repro ofHanke's ink copy] and parts [photographic repro of parts made at the Fleisher Collection, Philadelphia, c 1936-42]). 2. New York: Peer International, 1999 (score for sale, parts for rent). lves Society critical edn by James B. Sinclair; full critical commentary in CIP and available from Peer. Premiere: Chicago, 11 Feb 1967, Chicago Symphony Orchestra, cond. by Morton Gould,

008 SETS

in a "Popular Concert" in Orchestra Hall. The work was repeated in a regular subscription concert on 18 Feb in Orchestra Hall and reviewed by Roger Dettmer, Chicago American (20 Feb 1967). First recording: Chicago Symphony Orchestra, Chicago Symphony Chorus, cond. by Morton Gould, 15 Feb 1967 (issued in 1967 by RCA Victor, LSC-2959). Derivation: Mvt i: Begun as an orch "Overture to Stephen Foster" (see Comment); this mvt is based on three-chord plan first used in Prelude on "Eventide" [#080]. Mvt ii: Partly derived from the orch Four Ragtime Dances, nos. 1-3 [#043] (especially the latter). Intended for use as mvt i (The Rockstrewn Hills Join in with the Church Bells) of the projected Set for Orchestra: Tone Pictures of Some Bygone Days [#x650].

Ives intended "some parts in 2nd Orches Set" to be included as no. 26 in his List: Music and Democracy [#x641]. Borrowing: Mvt i: JESUS LOVES ME, Massa's in de Cold Ground, NOBODY KNOWS DE TROUBLE I'VE SEEN, Old Black Joe, Reveille. Mvt ii: BRINGING IN THE SHEAVES, The Girl I Left Behind Me, HAPPY DAY, Massa's in de Cold Ground, Rock-a-bye Baby, WELCOME VoiCE, Yankee Doodle. Possible borrowing: Turkey in the Straw. Mvt iii: EWING, Massa's in de Cold Ground, My Old Kentucky Home, SWEET BY AND BY, Te Deum (Anglican chant melody, a

variant ofthe Gregorian psalm tone for mode 2).

Literature: KirkC: 1A6; AG: v37. Memos, 60, 91-93, 119, 129, 130, 150, 164; Tunebook, 195. See also correspondence with the Fleisher Collection (CIP: IIIB/Box 34/8, 29 May 1935, 19Feb 1936,25 Mar 1942), Southem Music (CIP: IIIB/Box 35/13,9 Dec 19525 Feb 1953). BlockB: W6, B131, B192, B196, B267, B288, B411, B416, B424, B494-96.

46

Rossiter 1975, 130; Feder 1992, 234 (i); Burkholder 1995,214, 262~, 316-17; Swafford 1996, 158, 180,214,217,276, i: 229, 270, ii: 164, 229, 270, iii: 270-71. Discography: Warren 1972: 245; Morgan 1974, 72; Cohn 1981, 903; Oja 1982: 5398; BlockB: DIO. Comment: The descriptive titles of the mvts do not appear in any of the sources. The title of mvt ii first appears in Memos (p. 92): "This movement (it was marked [on] the back: 'The Rockstrewn Hills join in a People's outdoor Meeting') was completed and fully scored in 1911." No source page (front or back) contains this title, although Kirkpatrick (p. 92n3) surmises that it may have been written on one of the missing comers of the final pages for the score-sketch and pencil score. All three titles are first found together in Ives's handwritten addendum on the verso of p. 5 of Work-list C (dated 1943); mvt i, however, is identified there only as "An Elegy." In Work-list F (cl947-48), Ives added in pencil the words ''to our Forefathers" to complete the mvt i title. At the top of one of the sketches for mvt i (S1, f3816), Ives writes "Overture to 'Stephen Foster."' In Memos (p. 91 ), however, he noted that the mvt was "originally an overture called An Elegy for Stephen Foster." Ives's typed Quality List 1a has this entry: ''#26-'lst Movement'-'2nd Orchestral Set' (Orchestral Parts)," indicating that a now missing set of performance parts for at least mvt i existed before 1934. Ives's memo on his ink full score ofmvt ii (S4, fl300) reveals that a copy by George Price once existed: "Mr. Price: Please copy up to here [m. 175] & then I call me up .. .37 Liberty St." Although mvt iii is not strictly programmatic, Ives left a detailed account ofthe incident in New York City on 7 May 1915 that led to its composition (Memos, pp. 92-93). The main orch hn parts were noted by Ives in pencil on the Hanke copy (S4) of mvt iii where Ives mapped a reorchestration of the brass parts (incorporated in the Sinclair edn). On the same copy Ives mapped the use of theremin ("Ether Organ") in mvt iii (doubling tpt 3 starting atm. 102 and upper vc/b start-

47

ing at the end ofm. 105); other notations for the optional use of the theremin are found in mvt iv of Symphony No. 4 and in mvt iii of

9.

SETS

009

Orchestral Set No. 1: Three Places in New England.

Orchestral Set No. 3

Medium : 2(picc)-l-2-l; 1-1-3-0; alto hns, bar; timp, perc, low beUs, ch, zither, eel, hp, pf, hand org, org; str (instruments as named in sketches, possibly inc.) Duration : Unknown Movements: ([Andante moderato] ; 5 min., 94 mm. in Porter realization). Medium (as in S2 and Porter realization): 2-0-2-0; 0- 1/hn-I-0; perc (sn dr, b dr, gong), timp!Indian dr, glock, ch, eel, hp, pf; str (org or a 2nd pfrnay substitute for ww).

1. -

[Andante moderato]

r= MS

(fl 787). ed. Porter

ii. An Afternoon or During Camp Meetin' Week-One Secular Afternoon (In Bethel) (Adagio molto) [inc.]. Medium (as mentioned in sketch): l(picc)-0-1-1 ; 1-1-3-0; alto hns, bar; perc, beU, hand org, pf; str. Adagio molto "In Afternoon" ,.---- [4 / ----.

MS(fl793)

48

009 SETS

iii. - ([no tempo heading]) [inc.]. Mediwn (as mentioned in sketch): 2?-1-1-1; 1-1-1-0; perc, low bells, zither, eel, 2 hp, pf; str [4/3/3/3/2]. Strs( Vns)

r.-. r.-. ..0.•

..0.•

..D.

as distant 7unds in [the] woods

Harp

,.---5------,

,---5----,

MS(fl814)

Source: Title and mvt headings, list of instrwnents, 2 pp. (fl783-84).

lll.-

have I seemed to get going 'good' in music since then. (I 'd start things, but they didn' t seem to work out- [1] couldn't seem to keep them up and sailing. So [I] stopped and stopped etc.) I don't know how to account for it except that what strength I had was used up during the day in what I had to do at the office, and it seemed impossible to do any work in the evenings, as I used to do. During the last ten years or so [i.e., the 1920s], I've completed nothing but [the] Yo-tone [pieces] . A set of chamber music was started, and is fairly and mostly set down in a sketch (some five or six years ago [i.e., 1925- 26)." (Presumably this latter reference is to Orchestral Set No. 3.) AG: 1919-26.

Sketches and patches, 14 pp. (fl804-17 [fl817 is ofp. in photostat]).

Publication : Unassigned and unpublished.

i.1. Sketches towards sections A, B, C, D, and E, 3 pp. (f8020, 1786, 0657). 2. Pencil score-sketch with some ink, unpaginated and inc., 5 pp. (fl787-91).

ii. An Afternoon Sketches, not continuous, and patches, I 0 pp. (fl792- 98, 1801-1803 [fl797, 1801 & 1802 are ofpp. in photostat]).

Date: Composed between 1919 and 1926 with work continuing intermittently possibly to 1951 (see Comment). T.p. (fl783) has a memo "1st started 1919- N[o] G[ood] 1925- tried to finish NG I II- Just after 3rd movement 3rd Sym 1910-1912 ... 1919 NG I III N .G." S2 notes "Asheville Feb 27 1919." Work-list A has " Third Orchestral Set-Two Movements (uncompleted) 1919-26"; Work-lists B-C, E-G have "3rd Orchestral Set-- 3 movements (I Movement [the 3rd?] uncompleted) 19191926." In Memos (p. 112) lves writes, "In October 1918, I had a serious illness [an emotional breakdown that took a serious toll on his heart) that kept me away from the office for six months, and I have not been since in my former good (very good) state of health, nor

Premiere: Mvt i (Porter realization): Fullerton, CA, 16 Mar 1978, California State University Orchestra, cond. by Keith Clark. Porter' s revised realization ofmvt i: Amsterdam, The Netherlands, 27 Apr 1994, Combustion Chamber Ensemble, cond. by Rutger van Leyden, arr. for 12 players as accompaniment to a dance piece choreographed by Beppie Blankert. First recording: Mvt. i: The Pacific Symphony Orchestra, cond. by Keith Clark, 21 Feb 1982 (issued in 1983 by Andante Records, AD 72402). Derivation : Mvt i: Adapted from Symphony No. 3/rej. mvt iv [#003). Section E uses rna-

49

terial from mvt ii (Section IV, strings). Mvt ii: Adapted from the orch Overture and March "1776" [#024] and from Overture: Nationals [#026]; uses the same "background/ crowd sounds" that appear in the strings of Yale-Princeton Football Game [#051]. (In Quality List 2, Ives writes that In Re Con Mota et al. [#072] was "used partly in 2nd Movement, 3rd Orchestral Set" but no appreciable connection can be seen between the works.) There is a nearly identical treatment of the material quoting "Alexander" inpfStudyNo. 20 [#104]. Borrowing:

Mvt i: THE BEAUTIFUL RIVER, BETHANY, DORRNANCE, HEBRON, MATERNA, OLD HUNDREDTH, THE SHINING SHORE, WOODWORTH; Beethoven, Andante favori in F. Mvt ii: Alexander (see Derivation above), AzMON, Battle Hymn of the Republic, Columbia, the Gem of the Ocean, The Girl I Left Behind Me, Grandfather's Clock, GREENWOOD, Has Anybody Here Seen Kelly?, I've Been Workin' on the Railroad, Jingle Bells, Kingdom Coming, Little Brown Jug, MATERNA, My Old Kentucky Home, Reveille, THE SHINING SHORE, Silver Threads Among the Gold, SWEET BY AND BY, Tramp, Tramp, Tramp, Turkey in the Straw, Where Did You Get that Hat?, WINDSOR; Ives, Yale-Princeton Football Game (its background/crowd sounds in strings). (see Comment) Mvt iii: AzMON, DORRNANCE, EVEN ME, Home! Sweet Home!, NETTLETON, OLD HUN-

DREDTH, RETREAT, THE SHINING SHORE, WOODWORTH; Ives, Robert Browning Overture (sec. D here, incorporates tbn theme from the coda in Browning Overture). Literature: KirkC: 1A8; AG: v42. Memos, l12n4, 151, 165; Tunebook, 197-98.

SETS 009 BlockB: W8, W8a, B3, B267 (i, iii). Cowelll955, 91; Rossiter 1975, 109; Swafford 1996, 290, 346. Discography: BlockB: D21. Comment: This appears to be the last large work that Ives undertook. Mvt i, a hymn-tune mvt, is compositionally complete but not fully realized; it was planned in five sections labeled A-E. Mvt ii, a comedy of Danbury reminiscence, is incomplete (at least 2 pages are missing); the strings are given 10 repeatable sections ofbackground music labeled 1-X (other instruments are foreground); on fl794 Ives writes "secular etc exciting I as in Y P orig" referring to material in Yale-Princeton Football Game where the strings function as background crowd noise. Mvt iii, a hymn-tune mvt whose sketches are in the same unfocused state as the early ones for mvt i (f8021 and 1786), was never completed; it is based on at least five hymn tunes and the main sections in the sketch are labeled A-F. Sidney Cowell directs remarks to Universe Symphony that are probably rightly for mvt iii of Orchestral Set No. 3: "a few notes were added from time to time, at long intervals, up to 1951" (Cowelll955, p. 233). (In identifying MS pages, Sidney Cowell mistook as for Universe Symphony a number of the pages actually for the third mvt of Orchestral Set No. 3. David Porter has found that, although there is clear evidence oflves adding material onto his Orchestral Set No. 3 sketches after the 1930s photostating, there is no evidence that Ives actually added anything to the Universe Symphony materials.) The complete MSS are transcribed by David Porter in his MA thesis "The Third Orchestral Set of Charles Edward lves" [California State University-Fullerton, Jan 1980].

010

50

SETS

ii. SETS FOR CHAMBER ORCHESTRA 10.

Set No.1

Other title(s) : Comet Set [see f2672] . Medium : Original version: Fl(picc), ob(Eng hn), 2 cl, 2 bn, bar sax; hn/tbn/t sax, 2 cnt, tbn; perc (sn dr, b dr, t dr, cym), ch, 2 pf; str (opt bar sax 2) [asswning Cowell arr. ofmvt v]. Porter edn: Picc(fl), Eng hn/ob/basset hn, 2 cl, bn, bar sax; alto hn, tpt/Eng hnlbasset hn, cnt, tbn; perc (sn dr, t dr, b dr, cym), 2 pf(8 hands); str [4/4/2/3/1 minimwn] (opt. bar sax 2, bn 2, tbn 2, tuba, tomtoms/timp). Duration : 9 min. Movements: i. Scherzo : The See'r (Allegro; I min., 38 mm.). Other title(s) : Allegro (The See' r) [see f2762] . Mediwn: Original version: Cl; alto hn, cnt; dr, pf[but on Quality List 9 Ives added a pencil memo: "Cl, Tpt, Piano, Trombone or Hom, Dr"]. Schuller version: Cl; cnt, hn/tbn/t sax; perc (sn dr, b dr), pf. Porter edn: as orig. version (cuing alto hn in tbn & bar sax).

f.f

v Associated (1 932). ed. Porter

51

SETS 0/0

ii. A Lecture (Allegro; I min., 25 mm.). Other title(s): A Lecture (by Arthur Twinning H[adley]) [see f2673] . Medium: Original version: Fl, cl [crossed out], 2 bn; cnt, 2 tbn; dr; str (div.]. Schuller version (ed. Gregg Smith): Fl, cl, 2 bn; sn dr; str. Porter edn: Fl, 2 bn; cnt, 2 tbn; t dr; str (4/4/2/3/1 minimum] (opt. db 2). Allegro

2 Bn

Bn

pp

cresc.

Str

p Merion (1933). ed. Porter

iii. The Ruined River (Allegro; I min., 19 mm.). Medium: Original version: Pice, fl, 2 cl, bar sax; 2 cnt ("con voce ad lib."), tbn; dr, pf; str (pice may substitute for one cl; opt. bar sax 2). Schuller arr.: Fl (pice), 2 cl, bar sax; 2 tpt, tbn; timp, perc (t dr, b dr, cym, tamb), ch, pf; 4 vn, db. Porter edn: Pice (fl), 2 cl, bar sax; 2 cnt, tbn; pf(opt. bar sax 2, t dr, 4 vn [or 2 vn & 2 va] , voices). Allegro con fuoco-Fast and Rough

Peer ( 197 1). ed. Porter

52

010 SETS

iv. Like a Sick Eagle (Largo; I :30 min., 10 mm.). Other title(s): Keats's "Like a Sick Eagle" [see f2676). Medium: Original version: Fl, Eng hn/ob; pf; str ["4 strings" according to Ives's pencil memo on Quality List 9] (opt. voice). Schuller arr.: Fl, Eng hn, pf, str. Porter edn: Fl, Eng hn/ob/basset hn; pf; str [vn, va (or vn 2), vc, db] (opt. db 2, voice).

" ..,

Eng Hn

Largo (molto)

Vn

'"..,

Va

S1r

--

rTI"7J

: '"'

Db

-

::----.....

1- -1 pp

p _..--...__ Vc

p (draggingly)

--

(The spir .

.-----:::::

J

f57J

J

v

v

7

-

rTn

~

~

'·

h.J

l _______..-/

~ mor-tal- i

too weak;

is

J:::'1.

I

rJ

it

..____v

----I

[mp] Merion (1933), ed. Porter

v. Calcium Light Night (Slow March time; 31 mm. marked for expansion in original version [3 min., 68 mm. in Cowell's arr. (including a I 0-m. repeat); 2:30 min., 62--66 mm. in Porter's realization]). Other title(s): Calcium Light Night on the Campus [see CIP: IliA/Box 33/6 letter draft re "Parody etc."]; On the Campus-Calcium Light Night! [see f2679]; Calcium Light Night (a take-off) [seeMS Work-list 3]. Medium: Original version: Pice, cl; cnt, tbn; b dr, 2 pf{8 hd) (see Comment). Cowell arr.: Pice, ob, cl, bn; tpt/cnt, tbn; perc (sn dr, b dr), 2 pf. Porter edn: Pice, cl; cnt, tbn; b dr, 2 pf{8 hd) (opt. 2 bn, tbn 2, tuba, mounted cym, timp/tomtorns, sn dr, str [4/4/3/3/2 minimum; if all opt. instruments are used, only single pfrequired]). Start as a slow march; get gradually faster ,_-3---, 1"'"3--,

3 r-3---, r-,

rJ-,

r--3-----,

:

lbn

'--'

.....__/

pp

~

[m . l-2 of Pf I!Primo may be used to preface m.l)

:

biii

biii

iii

bt~

'"b~

~

~~

I

ppp

Pf I.

b~

iii

(Sn Dr& B Drw/Pf I, Primo)

Primo

: o• b~ Pf I.

Sec undo

!

~

~~__!_J

: pp

~

~

_,;~

[ ...._,

~)

~

~

Bva lower sempre ___________________________ . _____ . ___________ ------- __ __ __ Merion ( 1964), ed. Porter

53

SETS

010

vi. Allegretto sombreoso (Leggiero; 2 min., 24 mm.). Other title(s): Byron' s "When the Moon Is On the Wave" [see f2678] . Medium: Original version: Fl; tpt; pf; 3 vn [but on Quality List 9 Ives added a pencil memo: "FI, 3 Vio, Piano, Hom or Voice"]. Schuller arr.: Fl, Eng hn/tpt/ basset hn (or med voice); pf; 3 vn. Porter edn: Fl, tpt!Eng hn/basset hn; pf; 3 vn. AUegretto sombreoso 3 Vn [sord .]

II

f

"I

:JPP~)l Cnt·I~P p cantabile

Lh

Pf

-'

pp

r ""'

llrJ

T 1l J I

\

Rh

JTl I

llrJ r rTTJ J; \

~

Tnrn

TTl

f 1i \

Jl rT

Peer (1 958), ed. Porter

Source: I . Pencil score-sketch [made no earlier than 1913], continuous, of aU 6 mvts, inc. (pp. 3-7 only of9), 5 pp. (f2673, 2675-78); paper slip with title "Set #I" and list ofmvts (f2672): i. Inc. (mm. 23-38 only), includes text, I p. (f2673); photostat repro ofp. 3 on which Ives made emendations (f2674). ii. Headed, "II A Lecture (by Arthur Twining H[adley])," 2 pp. (f2673-75). iii. Headed "III The Ruined River" (includes text), 2 pp. (f2675-76). iv. Headed "IV Keats 'Like a sick Eagle"' (includes text), 2 pp. (f2676-77). v. Headed "V. 'Calcium Light Night'! (a Take Oft)," 2 pp. (f2677-78); 5 mm. of scoresketch, headed "for On the Campus-Calcium Light NIGHT!," I p. (f2679); memo listing words and melodies of songs (mostly fraternity) quoted, headed "Calcium Light Night," 2 pp. (f2691 - 92). vi. Inc. (mm.l-4 only), headed "VI Bryon's 'When the moon is on the wave" (includes text), I p. (f2678). 2. Copies of individual mvts: i. Ink copy in fuU score by Copyist 18, made under George F. Roberts's supervision, headed "Allegro (The See'r) [and in lves' s hd:] 222,"

4 pp. (f2762-65 [f7803-06 show this score with lves' s pencil corr.; f2752-55 show the score incorporating lves' s corr. ]). (This copy was made c 1934 when I ves included this mvt as mvt ii of Set No. 9 of Three Pieces.) iii. (see Comment) iv. Photostat repro oflost ink copy in fuU score by George F. Roberts, headed "1. Like a Sick Eagle (Keats)" (includes text), I p. (f2769); photostat repro on which lves made emendations (f2773). (Roberts' s copy made in 1934 when Ives included this mvt as the first of a Set No. 10 of Three Pieces.) v. Pencil fuU score, headed "Calcium Light Night," arr. and copied by Henry CoweU in Mar 1936, 10 pp. (f2681-90); letter from CoweU to I ves, 28 Apr 1936 regarding this edn, I p. (f2680). vi. Ink copy in fuU score by Copyist 18, made under George F. Roberts ' s supervision (includes text), 3 pp. (f2693-95); photostat repro on which lves made emendations (f7800-02). This source probably was intended for use as mvt i of Set of Three Pieces for Chamber Ensemble, No. 2. Date: Assembled probably in 1913 from mvts composed in 1907-11 . Only mvt iv is closely dated: an annotation above the title on the first

010

SETS

page of the sketch in S1 reads "H.T.I in Hospital Sally singing 70 W 11 April 29--'09" (but this is retrospective dating, apparently associating the mood of the event and this song; mvt iv is probably 1913 [however the paper may indicate 1917)). Not listed by the title "Set No. 1" in lves's work-lists. MS Work-list 3 has "[ii] 1909, [iii] 1912, [iv] Aprill909, [v] 1907, [vi] +967." No mvt is listed individually in Work-list A, which contains entries only for "Take-Offs ... From about 1896 to 1916" and "Sets for Basset-Hom, Trumpet, Comet or English Hom Solos, with small Orchestras-some called 'Cartoons' and 'Songs without Voices' From 1902 to 1917." Beginning with Work-list B, however, some of the mvts are listed under lves's group title: "Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)." These include: "[i] SCHERZO-'The Seer' [sic]Clarinet, trumpet, alto horn, piano and drum[.] Before May 30, 1913. [iv] LARGO MOLTO-'Like a Sick Eagle' -English or basset horn, voice ad lib., strings, piano. 1909. [vi] ALLEGRETTO SOMBREOSO'lncantation'-For trumpet, flute, 3 violins, piano[.] Date uncertain." Two other mvts listed in Work-list Bin separate entries: [iii], under "Pieces for various groups of instruments or chamber orchestra, with voice or chorus: I. 'The New River'--chorus and chamber orchestra. 1912." [v], under "Pieces for orchestra-'Cartoons or Take Offs'-Undergraduate and other events-' Academic, Anthropic, Urban, Athletic and Tragic'-Among them 'Calcium Light Night' and 'Central Park in the Dark'. Photostat. 1898-1907." Work-lists C-G have no change in listings or content from Work-list B. Memos (p. 59): "A set of pieces for comet solo (with or without voices) and small orchestra was made in 1906 with some of the college event things [from] long before that (1900 [or] 1901) ... Some of these were lost or made into other scores later... " [John Kirkpatrick's foot-

54

note reads, in part: "The dating, 'made in 1906' is valuable, because lves eventually forgot it and dated some of these pieces later."] But in KirkC, p. 48, Kirk-patrick gives a handwritten addendum: '"made in 1906' impossible -probably summer 1911" [the latter supposition must have been based on f6793 where a memo on the later song version of iii recalls "back from Zoar Bridge-June 9th 1911-Gas machine kills Housatonic!"]. Ives's 1906 date must refer to an earlier gathering of pieces that became the basis for this collection (adding, e.g., mvts iii & iv in 1912). KirkC: m~sembled 1913? assembled summer 1911?(mvt i: bc:Mtt 39 Ma-y 1913 say summer 1908?; ii: say 19018?; iii: MS: June 1911; iv: MS: 29 Apr 1909-surely correct; v: say 1997? summer 1911; vi: date uncertain, before 1910? (according to Sidney Cowell), say 1999? say t966 1907 or 1908?; Kirkpatrick's handwritten addendum to KirkC states: "scores & sketches (assembled after Dec 1909-say summer 1911 ?) copying old sketches with old memos." AG: 1910-11 (i: ?summer 1908; ii: 190708; iii: 1911; iv: 1909; v: summer 1911; vi: 1907-08). Publication: 1. Entire set, ed. and arr. Gunther Schuller, available since 1964 from Merion Music on a rental basis only. 2. Ives Society critical edn by David Porter of the entire set in prep for Merion Music (score and parts available on rental). 3. Mvt v (Calcium Light Night) ed. and arr. by Henry Cowell (in 1936), available from Merion Music on a rental basis only. 4. Mvt vi (Allegretto sombreoso) published separately, New York: Peer International, 1958 (score and parts for sale). Premiere: Mvt v (arr. Cowell): First documented performance: New Haven, 22 Feb 1956, by a student instr ens, cond. by Keith Wilson, in a concert in Sprague Memorial Hall, Yale University. Second documented performance: New York City, 11 Sept 1968, Buffalo Philharmonic Orchestra, cond. by Lukas Foss, in "A Gala

55

Festival Concert ofNew York Premieres," at Carnegie Hall. (Concert announcement in CIP: VII/Box 51/7.) Reviewed by Harold C. Schonberg, NY Times (12 Sept 1965). Mvt vi: First documented performance (see Comment): New York City, 10 May 1951, ina concert of chamber music at McMillin Theatre, Columbia University presented by the New Music Society. Other lves works performed, also apparently for the first time, were Luck and Work (Set No. 3/ii) and "Largo" (probably the Largo for Violin, Clarinet and Piano). (Concert announcement in CIP: VII/Box 51/1.) First recording: Complete set: chmbr orch, cond. by Gunther Schuller, 31 Mar or 1 Apr 1969 (issued in 1970 by Columbia Records, MS-7318). First recording of mvts ii, iv and vi with voice: William Feuerstein (Bar; ii), Adrienne Albert (Mez; iv, vi), Columbia Records, cond. by Gregg Smith, 17 Jan 1967 (issued in 1969 by Columbia Records, MS-7321 ). Derivation: Mvt i: Possibly derived in part from the lost orch Beecher Overture, no. 7 of Set of Overtures: Men of Literature [#x653] (see Memos, p. 202n25). Partly adapted for the 2-pf Three Quarter-Tone Pieceslii [#128]; also arranged as the song The See'r [#344] for 114 Songs. Included as mvt ii of Set No. 9 of Three Pieces [#0 18] and as mvt iv of the Set of Proposed Movements [II] [#x655]; possibly once listed as a mvt ("Anthropic") of the mostly lost Set of Cartoons or Take-Offs [#x651]. Mvt ii: Arr. as the song Tolerance [#377]; possibly once listed as a mvt ("Academic") of the mostly lost Set of Cartoons or Take-Offs [#x651]. Mvt iii: Apparently adapted from the song The New River [#308]. Included as mvt i of Set No. 5: The Other Side of Pioneering [#0 14] and mvt i of Set No. 8: Songs without Voices [#017] and in another version as mvt i of the Set of Proposed Movements [I] [#x654]. This version (or more likely that in Set No. 5/i) adapted for chorus and orch as The New River [# 186]. There is fragmentary reference to this material in mvt ii of the 2-pf Three Quarter-

SETS

010

Tone Pieces [#128]. Mvt iv: Arr. as the song Like a Sick Eagle [#288] for 114 Songs. Also used as mvt i of Set No. 10 of Three Pieces [#019] and included in a version as mvt vi of the Set of Proposed Movements [Ill} [#x656]. Mvt v: The pfline (mm. 32-41) appears in Gong on the Hook and Ladder [#070] (mm. 21-29) and in the pfThree Improvisationsli [#117]. Intended for use as mvt ii (Calcium Light Night on the Campus) of the projected Set for Orchestra: Tone Pictures of Some Bygone Days [#x650]. Mvt vi: Arr. as the song The "Incantation" [#280] for 114 Songs. Also used as mvt i of a projected Set of Three Pieces for Chamber Ensemble, No.2 [#x674]. (see Comment) Borrowing: Mvt iii: Tammany, Ta-ra-ra Boom-de-ay! Mvt v: A Band of Brothers in DKE, Few Days, Jolly Dogs, Marching through Georgia, Tramp, Tramp, Tramp. Literature: KirkC: 1C31; AG: v27. Memos, 40,59-61,67,73,156,158-59, 160n, 190, 202n25, 266, 278; Tunebook, 194. See also correspondence with John J. Becker (CIP: IliA/Box 27/6, n.d. [4-5 Aug 1934] re mvt ii), Henry Cowell (CIP: IliA/Box 28/5, 14 Mar28 Apr 1936 re mvt v) Julian Mason (CIP: IliA/Box 30/17, [late June 1933] re mvt v), George F. Roberts (CIP: IliA/Box 3118, 15 June 1934 re mvt iv), and Nicolas Slonimsky (CIP: IliA/Box 32/3, n.d. [May 1933] re mvt v). (For more correspondence on mvt iii [Ruined River] see Comment under the choral New River.) BlockB: W30, B239, B307, B550, B553, B557-58. Rossiter 1975, 276; Lambert 1989 [Integral], 13-14; Feder 1992, iv: 216, 217, 303, 312, v: 158, 161-64, 340-41, 345; Burkholder 1995,294, 343, 363; Swafford 1996, iii: 76, 236, iv: 213, 466n77 v: 128, 131, 181, 228, 236, 404-05; Lambert 1997b, 68-70 (v). Discography: Warren 1972: 330-33; Morgan 1974, 73-74; Cohn 1981, 905 (i); Oja 1982: 5429 (i).

010 SETS

Comment: The work erroneously published in New Music, vol. 24/4 (July 1953) as "Calcium Light" is not the Calcium Light Night of this set, but rather The Gong on the Hook and Ladder. In Ives's listing of the mvts (Sl, 12672) he refers to mvt v (Calcium Light Night) as "a campus cartoon." On the same listing YalePrinceton Football Game is added in ink as no. "6W'; Take-Off No. 7 and No. 8 are added in pencil as nos. 7 and 8. It is possible that the original "Set No. 1" of 1906 was what is cited in this catalogue as the partly lost orch Set of Cartoons or Take-Offs; at the time, the set may have included at least Scherzo: The See 'r, A Lecture, and Calcium Light Night and the known, numbered take-offs. On a source (fl142) for the choral New River lves refers (cl930-34) to "Take off I Ruined River," but that mvt could not have been in Set No. 1 until 1912. In MS Work-list 3 lves describes his orch as "Piccolo, Cl., Cornet, Trombone, and two Drum-beaters on the piano." Cowell must have done his arr. of Calcium Light Night in Spring 1936 (see letter from Cowell to lves, 28Apr 1936: "I enclose the Calcium Light score which I have made-it is practically just what you already have there, but with some few minor adaptations in order to fit the scheme together and with added markings for the parts, etc. Although seemingly so simple, it took a long time to ferret it all out, and to think on it and live with it until I feh that it was right. I hope you will think it is. My copy is in pencil, but quite clear, I think-ready for any copyist or engraver.") George F. Roberts must have done his work on Luck and Work in Spring 1934 (see letter from Ives to Roberts [CIP: IliA/Box 3118, n.d. (postmarked 15 June 1934 and sent to Roberts c/o NBC Music Library), Kirkpatrick transcript]: "Thank you for your letter and copy [of Luck and Work]- It is very well done.

56

Your suggested scoring for the strings is good -but think 3 violins as in the old copy had better be kept, as this piece is listed in the 'New Music' catalogue as for '3 violins' etc. Have put on a separate sheet the last 4 measures, using the IV. [first violin] to help out the piano in a few chords and as I remember it was originally played-was a kind of an aftersound chord at the end & have made an extra measure at end as in old copy. The pedal is lifted at end of measure before last & F natural etc held pp by hand in piano-there are a few accents & phrase marks to go in. After this is done, will [have] the Q. Co send you photostats of 2 other pieces-The song part of one -'Like a sick Eagle' is enclosed... " [the other, Kirkpatrick speculates, is The Indians]). On p. 42 (ffi103) oflves's Copy B of 114 Songs he adds in ink: "From a song [mvt vi here] originally for Eng. Hn. with Violins, Fl. and piano. Arranged for Voice & Piano 1921." Quality List 2, #47, lists the contents of the established six mvts but without a group title. Quality List 2 also has this entry: ''#69-(15 negatives)-The Orchestral parts for 'The New River', also Voice parts," indicating that a now missing set of performance parts for this version existed before 1934 (although the reference could be to a set by Slonimsky). There is a question concerning the first performance ofmvt vi (Allegretto sombreoso). John Kirkpatrick added a note in pencil to the concert announcement in the CIP: ''not mentioned in the review in Musical America, 7118, p. 18. Not performed as announced?" Kirkpatrick then drew an arrow pointing to "Allegretto Somreroso" [sic], and queried: "Not given?" There is no mention, in an otherwise detailed review, in the NY Herald review of 11 and 12 May 1951. No actual program for this concert has been located. Mvts i-iv and vi may be played instrumentally, as in this set, or used as accompaniments for vocal presentation.

57

11.

SETS

011

Set No.2

Medium : Original version: 2 fl, Eng hn, cl, bn; tpt(cnt); Indian dnun, pf, org; str. Schuller arr.: 2-1-0-1 ; 0-1-1-0; tom-tom, glock, pf; str. Porter edn: 2 fl, ob/Eng hn, bn; Indian dr/tom-tom, pf, org; str [2/2/2/2/2 minimum] (opt. cl, tpt/cnt). Duration : 5 min.

Movements: i. Largo: The Indians (2 min., 24 mm.). Medium: Original version: Ob/Eng hn/tpt, bn; tom-tom, pf; str [div.]. Schuller arr.: Ob, bn, tpt, tom-tom, pf, str. Porter edn: Ob/Eng hnlbasset hn/tpt, bn; Indiandr, pf; str [2/2/2/2/ 1 minimum] (opt. voice). Adagio or Largo (very slowly)

~ Bn

Vn I

Vn 2

Str Va, Vc

(Db 8va lowe r) ____ _

pp Assoc iated ( 1932). ed. Porter

58

011 SETS

ii. "Gyp the Blood" or Hearst!? Which is Worst?! [inc.?] (March time; I min., 19 rnrn. in Singleton realization). Medium: Singleton realization: Fl, cl, bn; tpt; pf; str. Porter realization: F~ cl, bn; dr, pf; str (opt. use of the total forces of the complete Set and any other available instruments). March time

Peer (1978)

iii. Andante: The Last Reader (2 min., 22 rnrn.). Medium: Original version: 2 fl, cnt/vn!Eng hn, org, 2 va (see Comment). Porter edn: 2 fl, Eng lm/cnt/cl, org, 2 va (opt. voice). (Schuller version of this set uses the version of this mvt in Set No. 9 of Three Pieces/i [#0 18]). Andante con moto 2 A PP

d

.,

d'J

~~:

p1"il mosso

" d:::=::::d:

J.

J

#r

''r

r_~_} ~~~----1~

0)

v.

~

J

~

~

k ~

pppp

P,---;----;-.....

fl Cnt 0)

(I

some-times sit

-----====--

be - neath

a

tree

and

read

" 0)

Org

my own sweet

----

songs;_

[Gt!

[Gt)

I

~

.-..

String & Diapason (no reeds)

p :

I

r ...___.r ·-----r r...___.r· Ped.

..J-j

r.

r-

b""il.__..

I

r ~

Merion ( 1933). ed. Poner

Source : Pencil sketch, continuous, of all 3 mvts: i. Headed "I Largo" (includes text), 2 pp. (t2696-97); photostat repro ofp. I on which

lves made emendations (probably intended for Set No. 10 of Three Pieces/iii]) (f7808). ii. Headed "Gyp the Blood or Hearst! ? I Which is Worst?!," 12 rnrn. (possibly com-

59

plete), 2 pp. (f2697-98). iii. Headed "III The Last Reader 0 W Holmes" (includes text), 2 pp. (f2698-99). Date: Assembled possibly in 1913-14 from music composed in 1911-12. Only mvt iii offers a clear date, in an annotation at the end ofSl (f2699): "(Hartsdale NY June 4 1911)," and may have been added to the set last. Work-list A, H: "#35- Second Set (for trumpet, woodwind, violin and piano) l 0 min. Manuscript[.] 1912 to 1921" (however it is likely that this refers to Set No. 8: Songs without Voices). Work-lists B-G have no mention of this title (but see below). Work-list A also contains a general entry (with no individual titles specified for "#21-Sets for Basset-Hom, Trumpet, Cornet or English Horn Solos, with small Orchestras-some called 'Cartoons' and 'Songs without Voices' From 1902 to 1917." In Work-list B, entry no. 21 above was revised and mvts i and iii are included as subentries; "Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)" includes: "[i] ADAGIO--'The Indians'- English basset horn [sic] or trumpet, bassoon, strings, piano and Indian drum[.] 1912. [iii] ANDANTE CANTABILE-'The Last Reader' -English horn or clarinet, strings, 2 flutes. 1911." Work-lists C-G have no change from Work-list B. Mvt ii undoubtedly was composed in an Ives rage at the time of the trial of Harry Horowitz, Oct. 1912. KirkC: assembled 1913? Oct 1912?; AG: ?1912 (i: 1912; ii: Oct ?1912; iii: 4 June 1911). Publication: l. Entire set, ed. and arr. by Gunther Schuller, available from Merion Music on a rental basis only. (Schuller substituted his own instr arr. of the song Ann Street for "Gyp the Blood" or Hearst!? as mvt ii and, for iii, used the orch intended for Set No. 9 of Three Pieces/i [2 fl, Eng hn/tpt, str].) 2. Ives Society critical edn by David Porter of the entire set in preparation for Merion Music.

SETS

011

3. Mvt ii ("Gyp the Blood" or Hearst!?) published separately, New York: Peer International, 1978; Ives Society critical edn/realization by Kenneth Singleton (score and parts for sale). Premiere: First complete performance: New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, editions by Kenneth Singleton, in a concert oflves's music for theater orchestra, given in Sprague Memorial Hall. (Program, listing the work as "first complete performance," in CIP: VII/Box 52/2). Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33. First recording: Mvt i: The Boston Chamber Ensemble, cond. by Harold Farberman, Oct 1962 (issued in 1963 by Cambridge Records, CRS-1804). First recording ofmvt ii ("Gyp the Blood" or Hearst!?): Yale Theater Orchestra, cond. by James Sinclair, 3 Apr 1974 (issued in 1974 by CBS Masterworks, M32969). First recording ofmvt iii: chmbr orch, cond. by Gunther Schuller, 31 Mar or 1 Apr 1969 (issued in 1970 by Columbia Records, MS-7318). First recording of mvt iii with voice: Adrienne Albert (Mez), Columbia Chamber Ensemble, cond. by Gregg Smith, 17 Jan 1967 (issued in 1969 by Columbia Records, MS-7321). Derivation: Mvt i: Arr. as the song The Indians [#283]; this music (mrn. 3-12) or that from the song version is used in mvt ii (mrn. 27-39) of Three Quarter-Tone Pieces [#128]. Included as mvt ii of Set No. 5: The Other Side of Pioneering [#014], as mvt ii of Set No. 8: Songs without Voices [#017], as mvt iii of Set No. 10 of Three Pieces [#019], as no. 14 ofhis projected orch List: Music and Democracy [#x641 ], and in a version as mvt iv of Set of Proposed Movements[/} [#x654]. There is fragmentary reference to this material in mvt ii of the 2-pf Three Quarter-Tone Pieces [#128]. Mvt iii: Rescored for 2 fl, Eng hn/tpt and str when the work was included as mvt i of Set No. 9 of Three Pieces [#0 18] and in a version

012 SETS

60

as mvt vii of Set of Proposed Movements [III] [#x656]; arranged as the song The Last Reader [#286].

1972: 334-36 (i, iii); Morgan 1974,73-74 (i); Cohn 1981, 903 (i), 923 (iii; voice and orch); Oja 1982: 5435 (ii). (see Comment).

Borrowing: Mvt iii: BETHANY, CHERITH, MANOAH. Possible borrowing: The Old Oaken Bucket, ST. PETER.

Comment: The mvts are listed on 12672. "Gyp the Blood" was a pseudonym of Harry Horowitz, whose trial in Oct 1912 for the murder of Hermann Rosenthal was sensationalized by Hearst newspapers. Horowitz was convicted and electrocuted 13 Apr 1914. In MS Work-list 3 lves describes the two flutes as "(ad lib.)." KirkC (p. 241) speculates that, since the date (4 June 1911) given at the end of the source for mvt iii (12699) is of Harmony's birthday, this mvt may have been tacitly dedicated to her. (lves dedicated The Rainbow to her on 4 June 1914.) At the time of Schuller recording (1969) of this set no version of "Gyp the Blood" or Hearst!? had been attempted. The rental materials for his version ofthe set instead offer Schuller's arr. of the song Ann Street.

Literature: KirkC: 1C32; AG: v32. Memos, 60, 158 (ii); Tunebook, 195. See also correspondence with Henry Cowell (CIP: IliA/Box 28/4, 25 Aug 1933 re mvt iii), Ray Green (CIP: IliA/Box 29114, n.d., re mvt i), Nicolas Slonimsky (CIP: IliA/Box 32/3, n.d. [May 1933], re mvt ii), and the Fleisher Collection (CIP: IIIB/Box 34/8, draft reply to 23 Mar 1944, re mvt iii). BlockB: W32, B550, B554 (ii). Perlis 1974, p. 221 (i) (John Kirkpatrick); Feder 1992, 315 (iii); Burkholder 1995, 294, 301--05; Swafford 1996, ii: 128, 179, iii: 236; Tick 1997, 133-62. Discography: Hall1964/2, 104 (i); Warren

12.

Set No.3

Subtitle: (see Comment) Medium: Original version: Fl, ob/Eng hn, cl, basset hn; perc (tom-tom. b dr), ceVglock, hp/p:t: pf; str. Schuller arr.: 1-1-Eng hn-1-1; 3-1-1-1; perc (field dr/sn dr, b dr), ceVglock, hp, pf, str (1 each: vn 1-2-3, va, vc, db). Porter edn: Fl, ob, basset hn!Eng hn, cl; t dr, pffllp; str [6/6/6/5/3 minimum] (opt. ceVglock). Duration: 3:30 min. Movements: i. Adagio sostenuto: At Sea (1:30 min., 13 mm.). Medium: Original version: Eng hn/basset hn/fl; ceVglock, hp/pf; vn 1-2, va, vc [on Quality List 9 lves added a pencil memo: "SQ, Pia, Fl" (perhaps more in reference to Set No. 7: Water Colorsli)]. Schuller arr.: Eng hn; ceVglock, hp, pf; 3 vn. Porter edn: Eng hnlbasset hn/fl; pffllp; 3 vn (opt. eel, vc).

61

SETS

012

Adagio sostenuto (Slowly) fl

-----

EngH n OJ

mp

---

~------~· _....-..__

'fl OJ

Str

Vn 2

mp

(sord.)

:

......--;-----.,

Vn I

J

'I______.-"

pp

[;J )l

Va e

rl~

r~

Vc

u

I.

len.

J,..- r--.1\ '--._...:.

~

PP(

OJ

mp

1

:

r r

e

ll'f'

-I

t

~

qr::___,r

piU

fl

Pf

j

•____.-

PP==-

PP==-

p

(-))~

==--

I______.-"

-==::: ::::=-

I

.J..

'--'I

r_:__/

1/J,l ~

.I\

#r-...__

-

~~

pp

p/

1:

'-...3-

...

..:__../

Peer (1%9). ed. Porter

ii. Luck and Work (Allegro con spirito-Andante; I min., II mrn.). Medium: Original version: Fl, basset hn; dr, pf; 3 vn [but on Quality List 9 lves added a pencil memo: "Eng H or Voice, Fl, Dr, 3 Vio's, Piano]." Schuller arr.: Fl, Eng hn; perc (field dr/sn dr), pf; str [1 each: vn 1-2-3, va, vc, db]. Porter edn: Fl, basset hn/Eng hn; dr, pf; 3 vn (opt. 4th vn).

Allegro con spirito (fast and hard) Basset hn

ff

Vns

Pf

Dr

mf Merion (1961 ). ed. Poner

62

012 SETS

iii. Premonitions ([Slowly] ; I :30 min., 19 mm.) [inc.]. Medium: Original version: Fl, ob, cl, basset hn; dr, pf; str (opt. eel). Schuller arr.: 1- 1-Eng hn-1-1; 3-1-1-1; b dr, eel, pf; str [1 each: vn 1-2-3, va, vc, db] . Porter edn: Fl, ob, cl, basset hn/Eng hn; t dr, pf; str [6/6/6/5/3 minimum players] (opt. cel/glock, voice). F1 j

Slowly

p

Ob ; ·

fl

~

~

!f.·

Ww

_, Basset hn

----

pp

Cl ~

fl

1.,

I.,

"!~

~r

~----L~J

Db~

l:

If":;

----.1!--

p

~~

7~~~

I

I

:

Pf

!~~~R

va"f

pp Vc]

f'J'

r~-ir L___

--

---

#~:

'fl Vns

Str

-

[mp]

3 ---..J

I

r r-r L 3 -J

I

r

"i

i .J

L

r

Vc

~

qo

----r::;::;:

r::.::.....bt

~)l~l 'I r r~

~------4 Merion (1933), ed. Porter

Source: 1. Pencil sketch [made no earlier than 1917], continuous, of all three mvts: i. (mm. 6--13 only); ii., complete; iii. (mm. 1-7 only, lacking upper staves ofmm. 1-4), 2 pp. (f2741--42) [f2741 shows the MS in its now incomplete state while f2740 has the image of the complete page as preserved in a photostat repro] . (Mvt. iii once must have been complete; Work-lists B-H group it with other complete works as for "Voice or chorus with flute, oboe, clarinet, hom, strings, piano and drums.") 2. Copies of individual mvts: i. Ink copy in full score by Copyist 18 made under George F. Roberts's supervision, I p. (f2743); this source probably was intended for use as mvt iii of Set of Three Pieces for Chamber Ensemble, No. 2. ii. Ink copy in full score by Roberts, inc.

(lacking mm. 1-5), with emendations by Ives, I p. (f2777); see sources of Set No. 10 of Three Pieces for an ink copy in full score by Roberts of the revised version. Date: Assembled possibly in 1918-19 from music composed in 1912-18. Mvt i: Annotation at the end of the sketch in S1 (f2741): "arranged for Eh I or Fll from song for organ & violin I & violin played at I Hartsdale Dec 1912." Mvt ii: Annotation at the end of the sketch in SI (f2741): "(Redding Oct 20-1916" [?recte 1917]. Mvt iii: Annotation at the bottom of the extant sketch p. ofSI (f2742): "120 E. 22 Jan 1917" [recte 1918? Ives moved to 120 E. 22nd St. in fall 1917] (but this may relate to the date of orchestration). This Set is not listed as such in lves's worklists; however, each of the mvts is listed under one of these two general entries, first appearing in Work-list 8 :

63

(1) under the general title of"Sets for various small groups of instrwnents or chamber orchestras (some with voice ad lib.)": "[i] ADAGIO SOSTENUTO-String quartet, English hom or flute, piano [no date given]. [ii] ALLEGRO ANDANTE-'Luck and Work'-English or basset hom, flute, violins, piano and drum. 1916." (2) under the general title of"Pieces for various groups of instruments or chamber orchestra, with voice or chorus": "5. 'Premonitions' (Johnson)-Voice or chorus with flute, oboe, clarinet, hom, strings, piano and drums. 1917." Work-lists C-F have no change from Worklist B. Work-list G: the entry for "ADAGIO SOSTENUTO" adds "(Date uncertain, some time before 1914)." KirkC: assembled ?1918, after Cel. RR. [changed in pencil to: piano part of 1A7ii?] (i: MS: in or bfDec 1912; ii: MS: 20 Oct 1916; iii: MS: Jan 1918?); AG: ?1918 (i: ?1902/ ?1912; ii: Oct 1916; iii: Jan 1918). Publication:

1. A version, ed. and arr. Gunther Schuller, is available on a rental basis only from Merion Music. 2. Ives Society critical edn by David Porter of the entire set in preparation for Merion Music (score and parts available for rental). 3. Mvt i: Published under the title Adagio Sostenuto, New York: Peer International, 1969 (score and parts for sale) [based on Copyist 18 score]. Mvts ii and iii: Copyright assigned to Merion Music. Premiere: Mvt ii (Luck and Work): First performance[?] (see Comment): New York City,

10 May 1951, in a concert of chrnbr music at McMillin Theatre, Columbia University presented by the New Music Society; other Ives works performed, apparently for the first time, were Allegretto sombreoso (from Set No. 1) and "Largo" (probably the Largo for Violin, Clarinet and Piano). (Concert announcement in CIP: VII/Box 5111.) Complete work in Schuller's version: New

SETS 012 York City, 6 Dec 1962, chrnbr orch, cond. by Gunther Schuller, in a concert at Carnegie Recital Hall. Also premiered at this concert was Schuller's realization ofChromiitimelOdtune. Reviewed by Harold Schonberg, NY Times (7 Dec 1962), p. 45. First recording: Chrnbr orch, cond. by Gunther Schuller, 31 Mar or 1 Apr 1969 (issued in 1970 by Columbia Records, MS-7318). Mvts i and ii: First recording with voice: William Feuerstein (Bar), Columbia Chamber Ensemble, cond. by Gregg Smith, 17 Jan 1967 (issued in 1969 by Columbia Records, MS7321). Derivation:

Mvt i: Apparently adapted from the lost chrnbr ens Song with Violin and Organ [#x726]; arr. as the song At Sea [#213]. Incorporated as mvt i of Set No. 7: Water Colors [#016], as mvt iii of a projected Set of Three Pieces for Chamber Ensemble, No.2 [#x674], and included in a version as mvt i of Set of Proposed Movements [II] [#x655]. Mvt ii: Arranged from original material for the song Luck and Work [#293]. Also included, with minor changes, as mvt ii of Set No. 10 ofThree Pieces [#019]. Mvt iii: Arr. for (or possibly from) the song Premonitions [#328]. Borrowing:

Mvt i: Possible borrowing: AzMON, BETHANY, COME YE DISCONSOLATE, MISSIONARY CHANT. Mvt ii: Possible borrowing: NETTLETON. Literature: KirkC: 1C35; AG: v40. See correspondence with George F. Roberts (CIP: IliA/Box 31/8, n.d. [ciS May 1934] and 15 June 1934). BlockB: W36, B2-3, B239, B550. Feder 1992, ii: 317, iii: 284,287,291, 322; Burkholder 1995, 288-90, 306. Discography: Morgan 1974, p. 73. Comment: The editorial numbering of this set follows that ofKirkC, p. 51. This set is essentially "Three Poems of Robert Underwood

013

SETS

Johnson." Roberts's work on Luck and Work was requested by Ives in a letter (n.d.) postmarked 13 or 15 May 1934 (see the George F. Roberts-Ives correspondence, CIP: IliA/Box 31/8). Ives acknowledged receipt ofRoberts's copy in a letter (n.d.) postmarked 15 June 1934: "It is very well done. Your suggested scoring for the strings is good--but think 3 violins as in the old copy had better be kept, as this piece is listed in the 'New Music' catalogue as for '3 violins' etc. Have put on a separate sheet the last 4 measures, using the I V. [first violin] to help out the piano in a few chords and as I remember it was originally played-was a kind of an after-sound chord at the end & have made an extra measure at end as in old copy. The pedal is lifted at end of measure before last & F natural etc held pp by hand in piano-there are a few accents & phrase marks to go in." The Copyist 18 score of Adagio sostenuto:

13.

64

At Sea probably was produced in 1934 or possibly in 1943 for Bernard Herrmann's use on a Columbia Concert Orchestra broadcast, 31 Mar 1943, 3:30-4:00 P.M. (see HerrmannIves correspondence [CIP: IIIAIBox 30/4], letter of Herrmann to Ives, 8 Mar 1943); the work listed as "Adagio for English Horn and Orchestra" may be this Adagio sostenuto: At Sea. There is a question concerning the premiere ofmvt ii (Luck and Work). John Kirkpatrick added a note in pencil to the concert announcement in the CIP: "not mentioned in the review in Musical America, 7118, p. 18. Not performed as announced?'' Kirkpatrick then drew an arrow pointing to mvt vi ("Allegretto Somreroso" [sic]), and queries: "Not given?" There is no mention, in an otherwise detailed review, in the NY Herald review of 11 and 12 May 1951. No program for this concert has been located.

Set No. 4: Three Poets and Human Nature

Other title(s): (see Comment). Medium: (see Movements) Duration: 8 min. Movements: i. [Robert] Browning (Allegro; 3:30 min., partly unbarred) [projected]. Other title(s): Paracelsus [as in song version]. Medium: "Trumpet & Trombone Solos-1st 2 pages full chamber orches & piano" [according to Sl]; "full Chamber Orches & Piano" and "Trumpet solo" [according to S2]. [for incipit see #324] ii. Walt Whitman (Fast and in a challenging way; 1 min., 17 mm.) [projected]. Medium: "Chamber Orches. Piano, Trumpet for voice" [according to S1]. [for incipit see #384]

iii. Matthew Arnold (Moderato; 3:30 min., 44 mm.) [projected]. Medium: "Wood, strings, piano, perhaps a little brass occasionally - 1st part a London Street Band" [according to S 1; see Comment]. [for incipit see #388]

65

Source:

1. Memo on Ives & Myrick office stationary, 38 Nassau St., headed "Suggested songgroups & instruments and about in this order of preference" (next to each title, Ives lists the page number of the corresponding song in 114 Songs); this set is the first of four listed, 1 p. (f2792). 2. Individual mvts: i. Leaves tom from Ives' s Copy E of 114 Songs (Paracelsus, pp. 71-72 only) which show his pencil annotations toward orchestration, 2 pp. (f6178-79). ii. Pencil sketch [c mid-1920s], 2 pp. (f567879) [also listed under choral Walt Whitman]. iii. Annotations and emendations toward orchestration in Ives's Copy E (f8146-48). Date: Planned after the 1922 printing of I 14 Songs, probably at some point between 1925 and 1930. KirkC: - ; AG: - . Publication: Mvt ii and iii: performance materials in choral versions are available on rental from Merion Music. Premiere: Mvt ii: (see Comment)

Mvt iii: Realization by John Kirkpatrick: New Haven, CT, 20 Oct 1974, Yale Symphony Orchestra, and Yale Glee Club, cond. by Robert Shaw, in a concert of orchestral and other music by "Ives and Friends," given in Woolsey Hall, Yale University, as the fifth concert of the Ives Centennial Festival-Conference, sponsored by the Institute for Studies in American Music, Brooklyn College, CUNY, and the School of Music, Yale University. The concert incl. a work titled West London, described in the program as "col1iectural version [of the song] for chorus and orchestra with the existing fragment of Matthew Arnold Overture as introduction (1911-21)." (Program repr. in Hitchcock/Perlis 1977, pp. 263-64.)

SETS 013

Derivation: To be orchestrated from songs in the 114 Songs: i. Paracelsus [#324]; ii. Walt Whitman [#384]; iii. West London [#388]. In addition, mvt i is probably intended for use as mvt v (Robert Browning: In the Heart and Mind) of the projected A Symposium-Five Movements for Orchestra [#x659] and mvt ii is included in a version as mvt v of Set of Proposed Movements [II] [#x655]. Borrowing: Mvt iii: Probable borrowing (MS missing): FOUNTAIN. Literature: KirkC, p. 52; AG: -. Comment: KirkC entry for "Set [#4?] of

Three Pieces" ( 1C36) is renumbered here as Set No. 9 of Three Pieces [#018]. The editorial numbering of this set is based on the apparent chronology. On S2 (f6178) Ives entered slightly different titles, "Poets & Men I The Poet & Man," and gives a different ordering, "p. 30 Browning 1105 Matt Arnold 131 Whitman." Mvt ii must have had an earlier version (apparently a pencil or ink score) as evidenced in a memo on the sketch for the choral Walt Whitman (f6922): "(Comet from Voice & Theater Orchestra score 1913." The present arr. was apparently planned anew. Mvt i has been arr. by David Porter as Paracelsus; mvt ii (Walt Whitman) has been arr. by Gregg Smith (and premiered by the Gregg Smith Singers, perhaps in the late 1960s); mvt iii has been arr. by John Kirkpatrick as West London (using the surviving Matthew Arnold Overture material as an introduction to the song material). S2iii mentions the following instrumentation: "flute, clar or voice, bassoon, no brass? perhaps a trp or trombone occasionally, piano, drums, full strings"; MS Work-list 3 has "Fl., Ob., Cl., Bassoon, Brass, Quartet."

66

014 SETS

Set No. 5: The Other Side of Pioneering, or Side Lights on American Enterprise

14.

Medium: Pice, ob(Eng hn}, E' cl, bn, (?alto] sax, (bar] sax; 0-2-1-1; perc (sn dr, b dr, tom-tom), pf; str Duration: 6:30 min. Movements: i. The New River (Fast and rough; I min., 17 mm.) [projected]. Medium: "Trumpet[,] Solo Sax, 2 V[iolin]'s, Piano" [according to the memo on f2792; see Comment] . [for incipit see #308] ii. The Indians (Very slowly; 2 min., 21 mm.) (projected] . Medium: "Oboe Solo, & Trumpet Solos (Strings) Piano" [according to the memo on f2792] . [for incipit see #283]

iii. Charlie Rutlage (In moderate time; 2:30 min. , 54 mm.) (projected]. Medium: "Eng. Hr. or oboe, Trmpet, Strings[,] Piano, Tuba or Trombone? score lost" [according to the memo on t2792]. Singleton edn: Pice, Eng hn, E • cl, bn; 0-1-1-1; perc (sn dr, b dr, tom-tom), pf; str (opt. tom-tom 2, Bar or Mez voice). In Moderate Time

Enghn

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~

(An· oth-er good cow-punch-er

has gone to meet his fate, I hope_

Vns, Va (!1.:! arco, !1.:! pizz.)

Str

TomTom Associated (1983)

iv. Ann Street (Fast and noisily; I min., 21 mm.) (projected] . Medium: "Trumpet Solo, mostly Piano (occasional Violin[,] Viola, Sax" [according to the memo on t2792]. [for incipit see #211]

Source: I. Memo on lves & Myrick office stationary, 38 Nassau St., headed "Suggested songgroups & instruments and about in this order

of preference" (next to each title, lves lists the page number of the corresponding song in 114 Songs); this set is the second of four listed, I p. (f2792).

67

2. Copies of individual mvts: i. Annotations in Ives' s Copy B of 114 Songs, pp. 13-14, with memo at end "from Set for 2 Trumpets, Clar. Saxophone I Piano & 4 Violins (ad lib) 1912" (f0095-96) and in Copy E with memo at top "l Trumpet 11 Sax (ad lib.) I Piano" and annotations toward orchestration citing "2 Trumpets, [bar] Sax, Trombone, Piano, Strings" (ffil57-58). ii. Annotations in lves's Copy E of 114 Songs, pp. 29-30, toward orchestration citing "Oboe, Trumpet, Strings (ad lib.), Piano" (f0167--68). iii. Charlie Rutlage a. Annotations in lves's Copy E of 114 Songs, pp. 19-22, toward orchestration for "Eng H, Trumpet, Strings, Piano, Bassoon, Oboe" (ffil62--65). b. Annotations in another copy of 114 Songs, pp. 19-22, toward orchestration for "Eng H, Trumpet, Strings, Piano, Bassoon, Drum?, B[ass] D[rum] and Cymb., Trombone and Tuba ad lib." (not located; never microfilmed). c. Pencil sketches for tpt part: mm. 21-23 only, l p. (t2790); mm. 20-36 only, headed "p 20 [of 114 Songs] 2nd meas 2nd Brace," l p. (t279l). iv. (see Set No. 8: Songs without Voices/iii [#017]) Date: Planned after the 1922 printing of 114 Songs (following the planning of Set of Proposed Movements [I]), probably after 1925. KirkC:-; AG:-. (see Comment) Publication: Mvt iii: New York: Associated Music Publishers, 1983 (score and parts for sale); Ives Society critical edn by Kenneth Singleton. Premiere: Mvt iii (in Singleton realization): New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, in a concert oflves's music for theater orchestra given in Sprague Memorial Hall, Yale University, and sponsored by the School of Music in celebration of the Ives centenary. (Program, listing the work as "first performance in new edition," in CIP: VII/Box 52/2). Reviewed by

SETS

014

Gordon Emerson, New Haven Register (5 Mar 1974), p. 33. First recording: Mvt iii (Charlie Rut/age): Yale Theater Orchestra, cond. by James Sinclair, l3 Mar 1974 (issued in 1974 by Columbia Records, M-32969). Derivation: To be orchestrated from songs in 114 Songs: i. The New River [#308]; ii. The Indians [#283]; iii. Charlie Rut/age [#226]; iv. Ann Street [#211]. Set No.8: Songs without Voices [#0 17] incorporates mvts i, ii and iv from this set. This set may be a reconfiguring of the plan for the Set of Proposed Movements [I} [#x654]. Mvt i: This version was adapted for the later revision of the choral The New River [#186]. Borrowing: Mvt i: Tammany, Ta-ra-ra Boom-de-ay! Mvt iii: Git Along Little Dogies. Literature: KirkC, p. 52; AG: - . Mvt iii: Memos, 117, ll8n5, l68.BlockB:Wl4l, Bl22, B252, B274, B29l, B554, B748, B774, B776. Perlis 1974, 158 (Bernard Herrmann); Rossiter 1975, 238, 239, 243; Hitchcock/Perlis 1977, 33; Burkholder 1995, 287, 294, 363. Discography: Mvt iii: BlockB: D62, D66 (all re song versions). (see Comment) Comment: KirkC entry for "[Set #5? of] Three Pieces" (lC37) is renumbered here as Set No. 10 of Three Pieces [#019]. The editorial numbering of this set is based on the apparent chronology. This set is nearly identical to the Set of Proposed Movements [I} which adds the song Maple Leaves and uses a different order. This set is the source of Set No. 8: Songs without Voices [#017] which simply omits Charlie Rut/age. Ives indicates forces for this set that differ, if at times subtly, from those planned for Set No. 8. On S2/i (f0157) lves lists the first planned grouping (before the addition of Charlie Rut/age: "6 [The New River] 114-[p.] 29 [The Indians] 125-[p.] 59 [Ann Street]."

68

015 SETS

least passages in the middle section were suggested by an earlier score for Brass band-' A runaway horse on Main St.'-he will send you a copy if you like--it may be of some help. On the enclosed copy of the song there are a few suggestions [followed by suggestions for orchestration] ... The first & last pages for the most part might be a kind of strumming accompaniment by strings alone ... A low tympani or two might beat time with the basso as a kind oflndian tom-tom ... The middle section, the runaway horse part, would be for full orchestra & plenty of drums ... " Despite similarities between the melody of lves's Charlie Rut/age and the tune to which the text was originally sung ("The Lake of Pontchartrain"), lves probably did not know that this tune was used for this text and thus could not have used it as a model (see #226 for more details).

The critical edn of mvt iii was realized by the editor based on lves's quite adequate annotations in both S2/iii:a&b and the critically important sketch of the tpt part (S2/iii:c). Another orchestration was made by Amadeo de Filippi in 1938. (As of 1982 this was in the possession of Mordecai Bauman.) In a draft for a letter for Harmony lves to write to Bernard Herrmann (6 Oct 1938, in CIP: IliA/Box 30/4 [citation from Harmony lves' s autograph latter]) lves writes: " ... Mr. lves has received a letter from Mr. Mordecai Bauman asking if ' Charlie Rutlage' is or could be arranged for voice & symphony orchestra as he wants to sing it at a symphony concert in New York in December. This has never been so arranged & Mr. lves, who as you know cannot undertake these things nowadays on account of his eyesight, wonders if you would be willing to do it ... As he remembers, a part, or at

Set No. 6: From the Side Hill

15.

Medium : Fl, ob, basset hn/Eng hn; tpt; cel/glock, hp, pf; str (possible cl, bn) [as required in the Singleton editions and including orch indicated for ii & iii] Duration : 7 min. Movements: i. Mists (Largo sostenuto; I :30 min., 19 mm.) [projected]. Medium: "Flute solo, Strings (harmonic chords?)? Piano, Celesta at end?'' [according to S1] . Singleton edn: Fl, pf[opt. cel/glock], str [vn 1-2-3, va 1-2, vc, db] . FJ or Voice

Largo sostenuto

p

Low

lie

the

mists;

they_

hide

Vn 3 (con sord.) V a 1- 2 (con sord.)

Vc

pp

Db, Pf

pucr-----

__....-ucr.___

_........--ucr~ M erion (1 976)

69

SETS 015

ii. The Rainbow (Moderately fast; 2 min., 18 mm.) [projected]. Mediwn: "fuller scoring at beginning, Strings, Piano, (Clar. & Bassoon?) Trwnpet & Flute Solos" [according to Sl]. [for incipit see #330)

iii. Afterglow (Slowly and very quietly; 2 min., unbarred in song version) (projected]. Mediwn: "Strings, Harp, Flute & oboe Solo- occas[ional] Celesta- Piano?" [according to Sl). [for incipit see #207] iv. Evening (Largo; 2 min., 18 mm.) (projected] . Mediwn: "Oboe & Flute Solos, 2 or 3 Strings, Piano- occas[ional] Celesta or bells" [according to Sl]. Singleton edn: Fl, ob; cel/glock, pf; 3 vn (opt. voice). Largo Fl

---

1'_.--

" oJ

-----=:::::-0.

(Now came still Eve-ning on, Vn

2-3

ten.

"

---- -----

oJ

q" pp " " "

CebJ

" OJ Pf

~

PP Vnl w!RH ________

:

-

~ ~

~

bJ

1-------=---

-

-----' ~ ~"

~

~

and

bJ

~

--

~

~

, .

Tw1-hght gray

'-----' ~

~

~ Q#J

f

~-

./

------ -------------- ----- - ------------------------------- ':":':' •••.•• J ten.

~

'

-----

#• Associaled (1983)

Source: I. Memo on lves & Myrick office stationary, 38 Nassau St., headed "Suggested songgroups & instrwnents and about in this order of preference" (next to each title, lves lists the page nwnber ofthe corresponding song in 114 Songs); this set is the third of four listed, I p. (f2792). 2.Leaves in lves's Copy E of 114 Songs, with Ives's annotations toward orchestration: i. Mists with corr. and orch. markings for "flute or English [horn], Strings (sordini), piano, celesta?'', pp. 131-32 (f6188-89). ii. The Rainbow, with emendations and orch markings for "trwnpet solo, flute, strings, Piano", pp. 16-17 (f6160-61). iii. Afterglow, headed "Ffli-,,-FEnng...-!.In..-1-f("fT:,.,ru,.nn-• pet), 2 Vs, Piano" and "Flute or oboe interchanging or E.H. -Strings (sordini), Piano & Harp, Celesta", p. 86 (f6180).

iv. Evening, with orch. markings for "flute, violin, piano, celes[ta]", p. 7 only (f6153). 3. Emendations by lves toward orchestration in a copy of 114 Songs held in the Moldenauer Collection at the Library of Congress (Music Division), p. 86 (Afterglow), headed ; "Flute or oboe (or interchanging with Eng Hn?), Strings (sordini), Harp (and Piano?) (Bells or Celesta)." Date: Planned after the 1922 printing of 114 Songs, probably at some point between 1925 and 1930. (see also The Rainbow [#045]) KirkC: - ; AG: - . Publication: Individual mvts available : Mvt i: Bryn Mawr: Merion Music, 1976 (score and parts for sale); lves Society critical edn/realization by Kenneth Singleton (after lves's instructions).

015 SETS Mvt ii: (see The Rainbow [#045] [although it is not the scoring intended here]). Mvt iv: New York: Associated Music Publishers, 1983 (score and parts for sale); lves Society critical edn/realization by Kenneth Singleton for chmbr orch with opt. voice. Premiere: Mvts i & iv: First perfonnance of chmbr orch realizations by Kenneth Singleton: New Haven, CT., New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, in a concert oflves's music for theater orchestra given in Sprague Memorial Hall, Yale University, and sponsored by the School of Music in celebration of the Ives centenary. Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33. First recording: Mvt i (Mists) and mvt iv (Evening): Yale Theater Orchestra, cond. by James Sinclair, 13 Mar and 3 Apr 1974, respectively (issued in 1974 by Columbia Records, M-32969). Derivation: To be orchestrated from songs in the 114 Songs: i. Mists [JI] [#301Nersion 2]; ii. The Rainbow [#330]; iii. Afterglow [#207]; iv. Evening [#244]. In addition, a version of mvt i is included as mvt viii of Set of Proposed Movements [JI] [#x655]; a version ofmvt iv is included as mvt viii of Set of Proposed Movements [Ill] [#x656]. Borrowing: Mvt ii: SERENITY Mvt iii: Possible borrowing: ERIE Mvt iv: BETHANY Literature: KirkC, p. 53; AG: - . Mvt i (all re the song vers.): KirkC: 6B47a; AG: z84. Memos, 118n5, 172, 278. BlockB: W188, B252, B291, B360, B554, B807. Perlis 1974, 190 (Mary Bell). Mvt ii: KirkC: 1C33; AG: v35. Memos, l18n5, 157, 168; Tunebook, 195. BlockB: W33, B3, B239, B267, B426, B550. Burkholder 1995, 287-89.

70

Mvt iii: KirkC: 6B60c; AG: z11l. Memos, 118n5, 170, 276. BlockB: W170, B806. Hitchcock/Perlis 1977, 174; Burkholder 1995, 289-91. Mvt iv (mostly re song vers.): KirkC: 6B69a; AG: z144. Memos, 117, 117-18, 127, 167;Tuneboo~212.BlockB:W133, W133ac, B77, B84, B252, B284, B291, B360, B554, B748, B779, B793, B797, B807, B810. Perlis 1974, 190 (Mary Bell), 226 (John Kirkpatrick); Rossiter 1975, 181, 238; Burkholder 1995, 83-84. Discography: Mvt i: Cohn 1981, 920; Oja 1982: 5381, 5382 (chmbr orch version); BlockB: D66. (see Comment) Mvt ii: Hall1964/3, 92; Morgan 1974, 73; Cohn 1981, 904; Block 1988: D1l. Mvt iii: Morgan 1974, 76; Cohn 1981, 916; BlockB: D64, D66. Mvt iv: Cohn 1981, 918; Oja 1982: 5316, 5317 (chmbr orch version); BlockB: D45, D62, D66. (see Comment) Comment: The editorial numbering of this set is based on the apparent chronology. KirkC entry for "[Set #6?]" (lC38) is renumbered for this catalogue as Set No. 8: Songs without Voices. This is the third offour projected sets of orchestrated songs listed on a memo (12792) on lves & Myrick office stationary, 38 Nassau St. The Ives & Myrick office stationary for their 38 Nassau St., New York address, on which S 1 appears, was in official use between 1 Feb 1914 and 30 Jan 1923, but lves must have used the old paper sometime in the later 1920s. Kenneth Singleton's 1974 orchestrations of mvts i & iv are based on Ives's simple but thorough annotations in Copy E of 114 Songs. On S3, regarding the mvt iii orchestration, Ives adds ''This (as a whole) won't sound as intended unless the instruments are a further distance away from the listeners, than in the usual concert hall."

71

SETS 016

Set No.7: Water Colors

16.

Medium: 1-1-2-2; 1-1-2-1; sn dr, b dr, ch, pf; str Duration : 5:30 min. Movements: i. At Sea (Slowly; I :30 min., 13 mm.) [projected]. Medium: "Flute solo, Strings (Sor[dino] all) piano- Celesta or bell- 6 notes only" [according to the memo on f2792; on Quality List 9 Ives added a pencil memo: "SQ, Pia, Fl"]. [for incipit see #213]

ii. Swimmers (Fast; I min., 25 mm. [in Sinclair realization]) [projected]. Medium: "(Rather full orches. strings, wood, piano[,] Trumpet (&piano) Solo, Trombone[,] Tuba[,] Drum[,] Tym[pani]" [according to the memo on f2792] . Sinclair edn: 1-1-2-2; 1-1-2-1; sn dr, b dr, ch, pf; str.

,..,,.,

Ob

Freely but slowly (as a Barcarolle) ,----.._ ,...---~

Fast

t-. r-=M

..,

c11

r·

r

v~r

....__ ~--"""r Tpt

fl

..,

f Fast Va

: :

repeat ad lib. under Ww

~

...

~

... *"

~

...

1• .

"'vcH~~~~

~

..J_..Jh.l j_.,j_

,.,j h.l

: ~~

~~I:;; ~

cresc. Merion ( 1949), ed. Sinclair

72

016 SETS

iii. The Pond (Slowly; I min., 9 nun.) [projected]. Other title(s): Remembrance [as in song version]. Medium: "flute, hom[,] I or 2 violins, piano- There is an 'echo' effect" [according to the memo on t2792]. Singleton edn: FVtptlhn, fllvn, pf, vn/fl.

.;;--- ,;---

Slowly

:

Hn

(A

P------;---...~

---of

sound

('J

a

dis echo

(muted)

;i

-

•

Vn 1

pp

1

Pf

.....__

.......

...

IIIIr

I

:

IIIII

8

-

\ I lJJ

/

r r 1

I I IJ

J I ril

J

~

~6-

10

fL

"

~-

J I I IJ

J

~

pp

...

('J

hom,

tant

'----10---

Use both pedals

Peer (1977)

iv. Full Fathom Five (In a slow swaying way; 2 min., 27 nun.) [lost]. Medium: "not in book[.] I have this somewhere - but can't find it here" [a reference to the song A Sea Dirge not being part of the 114 Songs] [according to the memo on t2792]. Porter arr.: Tpt, pf, str. TptwNnl

In a slow swaying way

v ns

"""('I

I

I_

t1

Str Va

f.

:J.

: Vc I

~J-

r.

I

J. I

y

I

r.

!. f

3fbJ LJ.

I

I

I

J.

J..----..1.

r.

I

i'

r· r: r- r:

i'

I

I

I

f~~~

h.l~ 3fLJ~J\bJ LJ.

~iv ...[

.d.

I

pp

I

I

I

AI

fl

(shadow)

I

~J.

HJ

Db (8va lower)

Pf

fI

"

10

~··

T.:_..I

.

3lh.J.....----...J ...-hJ.

r· r: r· r:

r: r-

~-

Associated ( 1968), arr. Porter

Source: I. Memo on Ives & Myrick office stationary, 38 Nassau St., headed "Suggested songgroups & instruments and about in this order of preference" (next to each title, lves lists the page number of the corresponding song in 114 Songs); this set is the fourth of four listed, I p. (t2792). 2. Leaves in Ives's own copies of 114 Songs,

with Ives's annotations toward orchestration: i. At Sea, in Copy E, with emendations and orch. markings for "Flute, Strings, perhaps a piano or light bell or celesta," p. 10 (f0156). ii. Swimmers a. Emendations in Copy B, pp. 62~7 (f0114-19) and orch. markings for "flute, oboe or clarinet, Bassoon, Trumpet, Trombones, Tuba, [sn & b] drum, bells or celesta, Piano,

73

strings" in Copy E, pp. 62-67 (f6172-77) of 114 Songs. b. Score fragment (for "Fl, Ob, [2] Clar, [2] Bassoon, Trumpet, Trombone or Tuba?, Chime I Bell Gong, Drum, Piano, [Strings]"), inc., 1 m. only (corresponding to the words "filled with the sense of' [m. 7 in Sinclair realization]), headed "p. 64 (top) [of 114 Songs]something on this plan," 1 p. (f2789). iii. Remembrance a. Orch. markings in Copy E for "flute or horn, Violin (string sor[d.]), Piano", p. 27 (f6166). b. Orch. markings in Copy F, p. 27 (not located; never microfilmed). 3. Annotations on the song Remembrance in Copland's copy of 114 Songs, p. 27 (f8130); above: "Echo Movement' I from Chamber Set I played [by] Fichtl at Hy[perion Theatre] I Decennial I Reunion '081 (with scores I at office4th I movement [i.e. Full Fathom Five] gone"; below "(end last part of Chamber Set- I for Piano, Violin, Horn or (flute) 12 movements played in New Haven 1908. I Fichtl has score [left there?]) 'Decennial."' (The decennial reunion was held on 23 June 1908.)

SETS 016

brance in Copland's copy of 114 Songs, p. 27 (f8139) Ives reveals an early performance: "Echo Movement' I from Chamber Set I played [by Frank] Fichtl at Hy[perion Theatre] I Decennial I Reunion '08." (The reunion was held on 23 June 1908.) First recording: Mvt ii (Swimmers) and mvt iii (under title Remembrance): Yale Theater Orchestra, cond. by James Sinclair, 13 Mar and 3 Apr 1974, respectively (issued in 1974 by Columbia Records, M-32969). Derivation: To be orchestrated from songs (mvts i-iii in the 114 Songs): i. At Sea [#213], with possible reference to Set No. 3/i (Adagio sostenuto: At Sea) [#012] which has nearly the exact orchestration as listed for this first mvt; ii. Swimmers [#366]; iii. Remembrance [#332]; iv. A Sea Dirge [#342]. In addition, a version of mvt ii is included as mvt iii of Set of Proposed Movements [II] [#x655]. Borrowing: Mvt i: Possible borrowing:

AzMON, BETHANY, COME YE DISCONSOLATE, MISSIONARY CHANT.

Date: Planned after the Jan 1925 completion of the orig. song version ofmvt iv (A Sea Dirge) and probably before 1930. KirkC: - ; AG:-. Publication: Mvt iii: New York: Peer International, 1977 (score and parts for sale; under the title "Remembrance"); lves Society critical edn/realization by Kenneth Singleton (for chmbr ens with opt. voice). Premiere: Mvts ii & iii: First performance of the chmbr orch versions realized by James Sinclair and Kenneth Singleton: New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, in a concert oflves's music for theater orchestra given in Sprague Memorial Hall, Yale University, and sponsored by the School of Music in celebration of the lves centenary. Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33. Mvt iii: In annotations on the song Remem-

Mvt iii: Taps. Possible borrowing: DAVID or HEXHAM.

Literature: KirkC, p. 53; AG: - . Mvt i: KirkC: 6B63a; AG: z120. Memos, 118n5, 168. BlockB: W135, B744 (i, iii), B797. Mvt ii: KirkC: 1C39. Memos, 169. BlockB B554. Mvt iii (all re the song vers.): KirkC: 6B62a; AG: z122. Memos, 73, 157n, 168; Tunebook, 211. BlockB: W143, B744 (i, iii). Burkholder 1995, 306 (i), 360-63 (iii); Swafford 1996, 92, 178 (iii). Discography: Mvt i: Hall 1964/3, 96; Morgan 1974, 76; Cohn 1981, 922. Mvt ii: Oja 1982: 5485. Mvt iii: Oja 1982: 5418 (chmbr ens version). (see Comment) Comment: The editorial numbering of this set is based on the apparent chronology.

017 SETS

Mvt ii: lves used a copy (Copy E) of 114 Songs to map the orchestration, adding the score fragment to illustrate the more complicated orchestral realization (of m. 7 in Sinclair realization). lves used another copy (Copy B) to make editorial changes to the music text (without reference to any orchestration). Mvt iii: The music for the song Remem-

17.

74

brance was originally adapted from The Pond for chmbr orch; Ives' s simple but thorough annotations in his personal copies of 114 Songs are the basis for Singleton's 1974 realization for chmbr ens. Mvt iv: On Si, Ives mistakenly gives the title as "Full Fathoms Five."

Set No. 8: Songs without Voices

Medium: Fl, ob, sax, [bn]; tpt, tbn/bar sax; [tom-tom], pf; str [according to Ives's markings, but the 1930 premiere of this set may have used only cnt and pf] Duration : 4 min.

Movements: i. The New River (Fast and rough; I min., 17 mm.) [projected]. Medium: Sax, tpt, pf. Porter edn: bar sax, tpt, pf. Fast and Rough Bar Sx

pf

Merion ( 1933 ), ed. Poner

75

SETS 017

ii The Indians (Very slowly; 2 min., 21 mm.) [projected] . Medium: Ob, [bn]; tpt; [tom-tom], pf; str. Porter edn: Tpt, pf(opt. ob, bar sax/bn, str).

" tT

Bar Sx

:

p=

~ pp

" tJ Pf

-

-

Very slowly Ob

--,

~

~~~

[ ~"'

~

-~

--...

1

;;::,;-;::;:;;.

,....-. 'II•-

~~~

I~io-

poco rit.

~ ~

-

~

~ 3

...---......

I I lb..t;

,....-. 'I!•-

~~~

1 ~r__............

pp ~

:

~

-

~

wAssociated (1932), ed. Poner

iii. Ann Street (Fast and noisily; I min., 21 mm.) [projected]. Medium: Fl, tpt, tbn/bar sax, pf. Schuller arr.: Fl, tpt, tbn, glock, pf. Porter edn: Tpt, pf(opt. fl, bar sax/tbn, 4 vn [or 2 vn and 2 va]). Fast and noisily

.; >

I

Pf

• FJ w/top of Rh (m.l - 2)

Source: I. Leaves torn from a copy of ii4 Songs which show lves's pencil and ink annotations toward orch. and stickered-on, typed identifications, 6 pp. (f2781-86); t.p. [in Sidney Cowell's hand?] "The New River The Indians Ann St This is a manuscript! Set for Trmpt, Oboe, Sax, Piano Do Not Photostat" (f2780): i. The New River, headed "A) from Set [No. I?] for Trumpet, Saxophone and Piano," pp. 13-14 (f2781-82). ii. The indians, headed "B) from Set [No. 2?] for Trumpet, Oboe, Strings and Piano," pp. 29-30 (f2783-84). iii. Ann Street, headed "C) from Set [No.

Merion ( 1933 ), ed. Porter

5?] for Trumpet, Flute, Trombone (or Baritone Saxophone) and Piano," pp. 59-60 (f278586). 2. Bound set of photostat repro ofSI, on which Ives made emendations top. 14 (f2787) and p. 60 (f2788). Date: Assembled after the 1922 printing of il4 Songs, perhaps in early 1930. For date of mvt i (The New River) see Set No. i !iii; for mvt ii (The indians) see Set No. 2/i. Mvt iii (Ann Street) was originally written as a song (1921 ). KirkC: assembled after 1922; AG: (listed only in a footnote on p. 511 as one of Ives' s "planned 8 other sets, with some new orchestrations" (no date given)].

017 SETS

Publication: Mvt i: (see Set No. 1/iii). Mvt ii: (see Set No. 2/i). Mvt iii: Schuller arr. available from Merion Music (rental score and parts). Premiere: New York City, 21 Apr 1930, in a concert at Carnegie Chamber Music Hall, sponsored by the Pan American Association of Composers, including "The New Riverffhe Indians/Ann Street...(for Trumpet and Piano) ... Charles Ives I Mr. [Harry] Freistadt [tpt] and Mr. [Imre] Weisshaus [pt]." (Concert announcement in CIP: VII/Box 50/2.) Mvt i: Second documented performance: 17 Aug 1974, Paul Winter Consort in an edn by Kenneth Singleton (using bar sax) in an allIves concert, entitled "The Charles Ives Show." The program lists the work The Ruined River stating: "This performance is of a version Ives did after 1921 for trumpet, baritone saxophone, and piano." (Program in CIP: VII/Box 52/3.) Derivation: This set is drawn from mvts i, ii and iv of Set no.5: The Other Side of Pioneering [#014]. Mvt i: Arr. from the song The New River [#308] with possible reference to mvt iii (The Ruined River) of Set No. I [#010]. Ives's Copy B (ffi095) of 114 Songs has added in ink, at the end of this song, "from Set for 2 Trumpets, Clar. Saxophone Piano & 4 Violins (ad lib.) 19121 arranged for Voice & Piano 1921." Mvt ii: Arr. from the song The Indians [#283] with possible reference to mvt i (Largo: The Indians) from Set No.2 [#011]. Mvt iii: Arr. from the song Ann Street [#211]. Borrowing: Mvt i: Tammany, Ta-ra-ra Boomde-ay! Literature: KirkC: 1C38 [under the title "Set #6?'']; AG: - . Memos, 59~0, 67, 150, 156, 190. Burkholder 1995, 294, 363 (mvts i and ii in song versions). Comment: The editorial numbering of this set is based on the apparent chronology. This

76

grouping appears in Quality List Ia (cl933) as "#21 - Three Songs[:] 'The New River', 'The Indians', 'Ann Street' I (for piano & ehamber set) I trumpet, some woodwind etc." It appears that this Set is merely a boildown of Set No. 5: The Other Side of Pioneering, and was a practical grouping for the few instruments hoped for at the 1930 performance. In Work-list A (1935) Ives probably refers to this set (apparently only for the purposes of the work-list) with the entry "Second Set (for Trumpet, woodwind, violin and piano)" (implying that the previously listed Set for Theatre Orchestra was at that time thought of as the "First Set"). Sometime after 1925 (probably specifically for the 21 Apr 1930 concert), Ives grouped three songs (Ann Street, The Indians, and The New River) as a set for chmbr orch (editorially titled "Set #6?'' in KirkC, p. 52), making annotations toward a projected orchestration on pages torn from a copy of 114 Songs. On the sources, in the headings to the songs in this set, Ives refers to the previous use or these pieces (but in different orchestrations). While the sources for mvts i and ii have useful notations toward orchestration, mvt iii has only one thing indicated (m. 21 ["Sun just hits"]: "(mute)" [for tpt, on the voice part]). Originally this set had "Gyp the Blood" or Hearst!? as mvt iii. In Memos (p. 60) Ives refers to the original grouping as "a set for trumpet (or cornet [or] voices) called first Songs Without Voices: The New River (a rag), The Indians (1912), Gyp the Blood or Hearst (topical piece)-all these scored for trumpet (con voce ad lib), flute, two violins, and piano [or] for small orchestra, trumpets or English horn solos) and were written before the spring of 1913 ... Later in 1921, Ann Street was put in this set in place of the rag .. .Ann Street was put in (for violins [and] piano) also in place of Gyp the Blood or Hearst-Which is Worst?, [which] was to be the fourth [in this] set of these takeoffs, but was never finished." In a letter to Henry Cowell ( 17 Apr 1930, in CIP: III/Box 28/1) Ives writes "If you read the words to the songs, there is a line that ought to go in, the 1st. The New River-after 'dancing halls & tambourine' should 'human beings

77

gone machine' should go be there too. I cut this out in the book [of 114 Songs]-1 couldn't stand that hand-organ [sic] phrase repeated again- It seems to me it would better to read the text before each song- I think a little

18.

SETS

018

some pause is needed betwee[}-and save the Indians from getting mixed up in Ann St. How it makes lit[tle] dif]Terence.] Do what comes easiest[?]." At the 21Apr 1930 concert the text was supplied on a mimeographed sheet.

Set No. 9 of Three Pieces

Medium: Original version: 2 fl, fl3/ob, fl4/cl, Eng hn, cl; alto hn, tpt/ob/Eng hn/cl; perc (sn dr, b dr), pf; str Duration: 8 min. Movements: i. Andante con moto: The Last Reader (2 min., 22 mm. in Porter edn Version I, 23 mm. in Version 2). Medium: Original version: 2 fl, Eng hn/cnt/voice; str [but on Quality List 9 lves added a pencil memo: "can be S.Q., 2 pianos, trumpet"]. Schuller arr.: 2 fl, tpt, str. Porter edn: Version I: 2 fl, Eng hn/cnt/cl; str; Version 2: fllcl, tpt, pf, str qnt.

-..._...read

my own sweet

songs; _

p Merion (1933), ed. Porter

ii. Scherzo: The See'r (Allegro; I min., 38 mm.). Medium: Cl, alto hn, cnt, perc (sn dr, b dr), pf [but on Quality List 9 Ives added a pencil memo: "Cl, Tpt, Piano, Trombone or Horn, Dr"]. [for incipit see #0 I 0/i]

iii. Largo to Presto: The Unanswered Question (6 min., 60 mm.). Medium: 2 fl, f1 3/ob, fl4/cl; tpt/ob/Eng hn/cl; str (str qt or 5-part str orch). [for incipit see #050Nersion 2] Source: i. Andante con moto: The Last Reader Full score for fllcl, tpt, pf & str qnt (intro &

mm. 0-2 only), I p. (t2744); rej. patches [made no earlier than 1926] (possibly for a later trial scoring), I p. (t2745). [It is probable

018 SETS

that this source was not created for this set; it is the only source for The Last Reader that incorporates pf.] Complete work: 1. Ink copy in full score, made by Copyist 18 under George F. Roberts's supervision and with his emendations. Typescript title note: "A Set of Three Pieces for Strings, Woodwind, Trumpet, Hom Piano and Drum," 1 p. (f2.767): i. [lost] ii. Headed "Allegro (The See'r)," 4 pp. (f2.762--65 [f7803--06 show this score with pencil corr. added by Ives]). iii. p. 5, with pencil corr. (f2.766); note to perfonners as postface ("In Re: Movement Number Three"), 1 p. (f2.768). 2. Bound set of photostat repro of complete ink copies in full score for each mvt, made by Copyist 18 (as in Sl above): i. Headed "Andante con moto ('The Last Reader' Oliver Wendell Holmes)," 6 pp. (f2.746-51 ). ii. Headed "Allegro (The See'r)," 4 pp. (f2.752-55 [incorporating lves corr. on f780306]); photostat repro on which Ives made emendations, 4 pp. (f7803--06). iii. Headed "The Unanswered Question," 5 pp. (f2.756--60); note to performers as postface, 1 p. (f2.761). Date: Assembled possibly in 1934. The contents of this Set are listed together without title in Quality List 2, #102. The mvts also appear consecutively in Work-list Bunder the general title of"Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)": "[i] ANDANTE CANTABILE--'The Last Reader'--English hom or clarinet, strings, 2 flutes. 1911. [ii] SCHERZO--'The Seer' --Clarinet, trumpet, alto horn, piano and drum. Before May 30, 1913. [iii] LARGO TO PRESTO--'The Unanswered Question'--Trumpet, 4 flutes or 4 treble woodwind, string quartet or string orchestra. Some time before June 1908." KirkC: ?assembled around 1920 (Kirk-

78

patrick bases his date on the fact that the rej. score of mvt i contains a blank t. p. used for the complete sketch of the song The White Gulls which lves dates 1921 in 114 Songs). AG: [referred to only in a footnote on p. 511 as one oflves's ''planned 8 other sets, with some new orchestrations" (no date given)]. Publication: Mvt i: (see Set No. 2/iii); mvt ii: (see Set No. 1/i); mvt iii: (see The Unanswered Question). First recording: Mvt i with voice: Adrienne Albert (Mez), Columbia Chamber Ensemble, cond. by Gregg Smith, 17 Jan 1967 (issued in 1969 by Columbia Records, MS-7321). Derivation: Mvt i: Originally planned as mvt iii of Set No. 2 [ #0 11] and later re-orchestrated for this set, with the tempo designation changed from "Andante cantabile" to "Andante con moto." Mvt ii: Originally planned as mvt i of Set No. 1 [#010] and later included, unaltered, in this set; in a version, included as mvt iv of Set of Proposed Movements [II] [#x655]. Mvt iii: Ives paired this work with Central Park in the Dark as mvt i of Two Contemplations [#x638] (see also The Unanswered Question [#050]). Borrowing: Mvt i: BE1HANY, CHERITH, Possible borrowing: The Old Oaken Bucket, ST. PETER.

MANOAH.

Literature: KirkC: 1C36 [under the title "Set #4?'']; AG: -.Burkholder 1995, 301--05 (i); Swafford 1996, 236 (i). Comment: KirkC (p. 51) identifies this set as "# 4?''. The editorial numbering of this set as no. 9 is based on the apparent chronology. The title comes from that of the bound photostat repro of ink copies in full score by Copyist 18: "A Set of THREE PIECES for Strings, Woodwind, Trumpet, Horn, Piano and Drum." An early written indication of an intention for this grouping comes in Work-list B where Ives lists the three works sequentially but with no other indication oftheir connection. In Work-list C

79

Ives added the now lost orch Autumn Landscape from Pine Mountain at the bottom of p. 2, beneath Scherzo: The See 'r; it is possible that he was intentionally adding that piece as a third mvt (before The Unanswered Question). Quality List 2, # 102 calls this group "copied

19.

SETS

019

and bound." At about the same time that I ves assembled this set, he assembled Set No. 10 of Three Pieces and defined the Set of Three Pieces for Chamber Ensemble, No. 1 and No. 2, all of which are performable with single strings.

Set No. 10 of Three Pieces

Medium: Fl, ob!Eng hn, basset hn, bn; tom-tom, pf; str Duration: 4:30 min. Movements:

i. Largo molto: Like a Sick Eagle (1 :30 min., 10 mm.). Medium: Fl, Eng hn; pf; str ["4 strings" according to Ives's pencil memo on Quality List 9]. [for incipit see #0 I 0/iv] ii. Allegro-Andante: Luck and Work (1 min., 11 mm.). Medium: Fl, basset hn; dr [tom-tom?], pf. [for incipit see #0 12/ii] iii. Adagio: The Indians (2 min., 24 mm.). Medium: Eng hn/ob/tpt, bn; tpt; Indian dr, pf; str. [for incipit see #0 11 /i) Source: Copies of individual mvts: i. (see Comment) ii. Ink copy in full score by George F. Roberts, in earlier state, p. 2 only (mm. 5-11) (t2777). iii. Adagio: The Indians 1. Photostat repro (f7808) ofp. 1 of pencil sketch of mvt i of Set No. 2, with emendations byives. 2. Ink copy in full score by George F. Roberts [made May-June 1934], headed ''III. Adagio ('The Indians')," 2 pp. (f2778-79). Complete work 1. Set of photostat repro of ink copies in full score by George F. Roberts, of all three mvts: i. Headed "I. Like a Sick Eagle (Keats)," 1 p. (t2769). ii. Headed ''II. Luck and Work," 1 p. (f2770). iii. Headed "III. Adagio ('The Indians'),"

2 pp. (f2771-72). 2. Second set of photostat repro ofRoberts's ink copies, on which Ives made emendations, 4 pp. (f2773-76). Date: Assembled probably in May-June 1934. For dates of individual mvts, see entries for the original sets in which they appeared (i as Set No. 1/iv; ii as Set No. 3/iii; iii as Set No. 2/i). The contents of this Set are listed together without a group title in Quality List 2, #100. The mvts also appear consecutively in Worklist B under the general title of"Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)": "[i] LARGO MOLTO--'Like a Sick Eagle'-English or basset horn, voice ad lib., strings, piano. 1909. [ii] ALLEGRO ANDANTE--'Luck and Work' --English or basset horn, flute, violin, piano and drum. 1916. [iii] ADAGIO--'The Indians'--English [or]

020 SETS

basset hom or trumpet, bassoon, strings, piano and Indian drum. 1912. (All of the above are in photostat) (Arrangements for voice and piano of some of these pieces are in the Song Albums)." KirkC: assembled 1934; AG: [listed only in a footnote on p. 511 as one oflves's ''planned 8 other sets, with some new orchestrations" (no date given)]. Publication: Mvt i: (see Set No. 1/iv; mvt ii: (see Set No. 3/iii); mvt iii: (see Set No. 2/i). Derivation: Mvt i: Originally planned as mvt iv of Set No. 1 [#010]; included, slightly altered (perhaps inadvertently), in this set. Mvt ii: Originally planned as mvt ii of Set No. 3 [#012]; included, with minor changes, in this set. Mvt iii: Originally planned as mvt i of Set No.2 [#011]; included, with pfadded to the orch and a tempo heading change (and therefore a title change) (from Largo to Adagio), in this set. Borrowing: Mvt ii: Possible borrowing: NETTLETON.

80

#5?'']; AG: - . Burkholder 1995, 288-90, 294; Swafford 1996, i: 213, 466n77. Comment: KirkC identifies the set as "Set #5?''. The editorial numbering of this set as no. 10 is based on the apparent chronology. An early written indication of an intention for this grouping comes in Work-list B where Ives lists the three works sequentially, without a heading but setting off the three with space above and below the group. It is more definitively listed as a group in Quality List 2, entry #100: "Set copied and bound:- 'LIKE A SICK EAGLE' I 'LUCK AND WORK' I 'THE INDIANS."' Ives probably refers in a letter to Roberts [n.d.] postmarked 15 June 1934 (in CIP: IIIN Box 31 /8) to sending Roberts a photostat of the song The Indians: "After this [Luck and Work] is done, will [have] the Q. Co send you photostats of2 other pieces--The song part of one--'Like a sick Eagle' is enclosed." A memo on a leaf oflves's Copy B (ffi113) of 114 Songs indicates that a MS score once existed: "from score see MSS 38 Nassau." At about the same time that Ives assembled this set, he assembled Set No. 9 of Three Pieces and defined the projected chmbr Set of Three Pieces for Chamber Ensemble, No. 1 and No. 2, all of which are perfonnable with single strings.

Literature: KirkC: 1C37 [under the title "Set

20.

Set for Theatre Orchestra

Other title(s): Theatre Orchestra Set [seeMS Work-list 3]; A Set of Pieces for Theater or Chamber Orchestra [see Publication]; First Set [see Comment]. Medium: Eng hn/fl!cl!cnt, cl, bnlbar sax/tbn; hn/ci!Eng hn/tbn; timp, glock, pf(2 players); str (opt. ob/:fl!cl!cnt, :fl!vn, hp/pf: org) Duration: 7:30 min.

81

SETS 020

Movements: i. In the Cage (Andante; I :30 min., 18 mm. in Singleton edn). Medium: Eng hn/fllcVcnt; timplb dr, pf; str [vn, va, vc parts only plus a "shadow" trio of same1(opt. ob/fVcVcnt).

.~n

Andante

Repeat 2 or 3 times

Evenly and listlessly with no change in tempo or volume throughout

J'"#"

-.7

t}

~r

~--

mf Pf Va

_I ~

t'vc Timp

I,

#f

'I

mf ,.-3_., ,.-3_.,

-

pp>

==-

,.--J-1

..J

J:

I

II

.11 ~ I'

,.-3_., ,-3__, ,-3..-,

r

~>r

L..____3--

:6~~3----,

~

,.-3_., ,.-3_., ,....3...,

,.-3_.,

- -

simile

New Music ( 1932)

ii. In the Inn (Potpourri) (Allegro-Presto; 3:30 min., 130 mm.). Medium: Cl, bnlbar sax/tbn; timp, pf; str [vn, va, vc only1(opt. fl, cl 2).

Timp

mp New Music ( 1932)

020

82

SETS

iii. In the Night (Adagio molto; 2:30 min., 19 mm.). Medium: Eng hn/cl/hn/tbn; bells (high, low), pf(2 players); str (opt fllvn, timp, hp/pf, org). Adagio molto s ··· · · ··· ······································ ·· ··················· ·· ························ · ··· ·· · · ···········

, - - -- - - - - - - - - - 4

.- --.

.....--......

bl bl

_.....-......_......-......_.....-.....

4------------~

Vn Va Vc

New Music (1932)

Source: i. In the Cage I . Fragmentary pencil sketch (mm. 1-4 only), I p. (f2599). 2. Ink full score, I p. (f2600).

ii. In the Inn I. For preliminary sketches see sources for the Four Ragtime Dances, no. I. 2. Pencil patches, 3 pp. (f2601 , 3056, 3057). 3. Full score, inc. (mm. 33- 82 only), 2 pp. (f2602--03); extra score pp. supplementing mm. 1- 56 of the full score, 4 pp. (f2604--07). iii. In the Night I. Fragmentary pencil sketches, 2 pp. (f260809); photostat repro of second sketch page includes 6 staves now missing from the original (f261 0). 2. Pencil score-sketch, inc. (not all filled in), 2 pp. (f2611 - 12); patches, 2 pp. (f2613- 14). Complete work I. Ink copy in full score by Emil Hanke, 18 pp. (f2615- 32). 2. Bound photostat repro ofSI on which Ives made emendations, headed "I [and in lves' s

hand:] Set for Theater (or Chamber) Orchestra (see marginal note page 20)" 20 pp. (f263352); p. [3] is an inserted copy of the song version from 114 Songs (f2635); p. 20 contains a typescript note to performers as a postface (f2652). 3. Proof pages ofmvt iii only for the New Music edn, with emendations by lves, 4 pp. (f2653- 56); corr. on 2 separate pp. included with the proofs (f2657- 58). (f2659=photostat of the postface as it appears in the New Music edn, p. 24.) Date: Assembled/reworked c 1914, based on material composed between 1899 and, according to lves, 1906. Mvt i: Annotation at the bottom ofS2 (f2600): "Bart [Yung] and Geo.[Lewis] 65 Central P[ark] W[est] July 28 [?] 1906 .. 51 Liberty." Mvt ii: No date in the sources; a memo to Emil Hanke in S3 , second p. (f2603): "Mr. Hanke: This page I will have to copy over but p. 3 2 6? think you can make out (also- attached sheets may help in places-They are from a piano arrangement from Ist & II [Ragtime] Dances (score) that Price or Greinert made, leaving out the (V[iolin]s etc) off tunes &

83

cutting out some of the difficult rhythms etc in piano-{a simplified version & NG." Mvt iii: Annotation inS 1 sketch p., LH margin (f2608): "from Hymn Anthem... sung Jan 26 1902 & Mch 9 Abide ..." Addresses on the second p. ofSl (f2609), "26 37 Liberty St NY." were Ives's offices, cl905-31 Dec 1906, and 1 Jan 1909-31 Jan 1914. Annotation in S2, p. [1], mm. 3-4 (f2611): "(continue from organ copy in old score in safe 37 Liberty)." In the same source, at the bottom ofp. [2] (f2612): "from Hymn-Anthem -{Organ, Piano (S.S. Room) Harp Male Chorus)see copies Central P. Ch Library (played in Evening Service Jan 12 '02-N.G." Annotation at the top of a patch page (f2614): "(from Hymn- Anthem Mens voices Central Pres. Ch NY Jan 12 [?or 16?] 02." Dates were entered by Ives in his photostat repro of Emil Hanke's complete ink copy: at the bottom p. 1 of In the Cage (f2633): "1906"; at the top of p. 4 (the first p. of In the Inn; f2636): "1904-11"; at the top ofp. 17 (the first p. of"In the Night"; f2649): "1906." At the end of each mvt of his copy, Hanke wrote the address, "46 Cedar St. N.Y." [Ives's office 1 May 1923-30 Apr 1926]. Work-list A: ''#2~et for Theater or Chamber Orchestra 15 min. New Music Pub. Co. San Francisco, Cal. 1906"; Work-list B: date emended to "1906--1911." KirkC: say 1906 (i: MS: July 1906; ii: say 1906; iii: MS: June 1906); AG: (i: July 1906; ii: 1906--11; iii: June 1906).

SETS

010

Publication: 1. San Francisco: New Music, vol. 5/2, Jan 1932, score only, titled "A Set ofPieces fur Theater or Chamber Orchestra" Copyright assigned to Merion Music 1958 (score [repro from the New Music edn] and parts for rent). 2. New York: Edwin F. Kalmus, n.d.; repr of the New Music edn (score and parts for sale).

under the collective title "Suite de Pieces" which included mvt iii (titled E/egie), and The Fourth ofJuly, in its first performance, supplied as the second mvt. (Concert announcement and program in CIP: VII/Box 50/3.) Reviewed by Boris de Schloezer, Pos/edniia novosti (Les Dernieres nouvelles) (11 Mar 1932), p. 5; unsigned, Voit Tout (25 Feb 1932). Following two Paris performances (thesecond on 25 Feb), the same works were performed in Berlin, 5 Mar 1932, by an orchestra of players from the Berlin Philharmonic, cond. by Nicolas Slonimsky, at a concert in the Beethovensall. Reviewed by Jerzy Fitelberg, Modern Music 9 (May-June 1932), p. 185; Rudolf Kastner, Christian Science Monitor (23 Apr 1932); Hermann Springer, Neue Preussische Kreuzzeitung (ll Mar 1932), Hans Heinz Stuckenschmidt, Berliner Zeitung am Mittag 56 (7 Mar 1932). Mvt iii: First documented performance: Saint Paul, MN, 7 Dec 1931, orchestra ofthe Saint Paul Chamber Music Society, cond. by John J. Becker, in a concert at St. Thomas College Auditorium, sponsored by the Contemporary Arts Society of the College of St. Thomas. (Photocopy of the program, listing '"At Night' from Theatre Set... l st time in Northwest," in CIP: VII/Box 50/3; repr. in Perlis 1974, p. 179.) Complete work: First documented performance: New York City (see Comment), 16 Feb 1932, Pan American Chamber Orchestra, cond. by Adolph Weiss, in a concert at the New School Auditorium, featuring music by members of the Pan American Association of Composers. (Concert announcement in CIP: VII/Box 50/3.) Reviewed by A.V.B. [Arthur V. Berger], NY Daily Mirror (Extra Edition, 17 Feb 1932), p. 18; Marc Blitzstein, Modern Music 9/3 (Mar 1932), p. 124 (mentioning iii only).

Premiere: Mvt i: Second documented perfOrmance (see Complete Work below): Paris, France, 21 Feb 1932, by an orchestra of players from the Orchestre Symphonique de Paris, cond. by Nicolas Slonimsky, at a concert in the Salle Pleyel,

First recording: Complete work: Vienna State Opera Orchestra, Stell Anderson (pf), cond. by Jonathan Sternberg, 1952 (issued in 1953 by Oceanic, OCS-31 ). First recording of mvt iii: The Pan American Chamber Orchestra, cond. by Nicolas Slonimsky, 15 or 16 May

020 SETS

1934 (issued in 1934 by New Music Quarterly Recordings, vol. 1/5). Derivation: Mvt i: Arr. for (or possibly from) the song The Cage [#221]; a version included as mvt ix of Set of Proposed Movements {II] [#x655] and possibly once listed as a mvt ("Anthropic") of Set of Cartoons or Take-Offs [#x651]. Mvt ii: Largely derived from Four Ragtime Dances, no. 1 [#043], and from Sonata No. I for Piano/iib [#087]. This is probably the mvt intended as mvt i (In the Car) of the projected Walking Suite [#x660]. Mvt iii: Partly derived from Prelude on "Eventide" [#080] for tbn, org, and 2 vn (see Quality List 2, p. 5, entry 91: "Sketch Organ 'Prelude' from which 'In the Night' was made ... "; also see Memos, pp. 57-58, 119), and from a lost sacred choral Hymn-Anthem on "Eventide" [#x708]. Borrowing: Mvt ii: After the Ball, BRINGING IN THE SHEAVES, HAPPY DAY, Reuben and Rachel, Ta-ra-ra Boom-de-ay, WELCOME VOICE, With His Hands in His Pockets. Mvt iii: EVENTIDE, De Little Cabins All Am Empty Now, Massa's in de Cold Ground. Literature: KirkC: 1C28; AG: v22. Memos, 40, 55-59, 64, 92, 119, 130, 150, 156n, 161; Tunebook, 192. See also correspondence with John J. Becker (CIP: IliA/Box IliA/Box 27/4, 4 Dec 1931, 9 Mar 1934,4 July 1934; Box 27/6, n.d. [Oct 1931], 20 Nov 1931 and cl4 Mar-22 July 1934), Henry Cowell (CIP: IliA/ Box 28/2, 24 June 1931; Box 28/3, 2 Dec 1932; Box 28/5, n.d. [27 Apr 1934]; Box 28/6, 24 Sept-Oct 1942), Wallingford Riegger (CIP: IliA/Box 31/13,28 Feb 1932 and 10 May 1934-29 May 1934), Nicolas Slonirnsky (CIP: IliA/Box 32/2-3, 11 Nov [1931]-9 Aug 1932; Box 32/4, n.d. [3 Jan? 1934]-10 June 1934), and New Music (CIP: IIIB/Box 35/6, 12 Dec 1937, 16 Apr 1938-23 July 1938; Box 35/7-8, 18 Oct 1940-9 Apr 1941). BlockB: W27, Bl31 (iii), Bl40 (ii), Bl92, Bl96, B239, B252, B30l, B307, B4ll, B566 (excerpt of review pub!. in Burkholder 1996,

84

305), B567, B582. Cowell 1955, 65, 70, 110, 168-69; Rossiter 1975, 230-32 (i, iii), 237, 253 (iii), 267 (iii); Mead 1981, 165-66, 178-83, 267-70; Bukoff 1988, 70-73; Nicholls 1990, 40-51; Feder 1992, 190-93; Burkholder 1995, 225, 385-86; Swafford 1996, 158,i: 151,153,179,250, 384,ii: 164, 179,iii: 179-80,228-29,384, 390,402,403,46ln48. Discography: Halll964/2, 104; Warren 1972: 341-44; Morgan 1974, 73-74; Cohn 1981, 905; BlockB: Dl2, Dl6. Comment: Mvt iii was the first work oflves to be commercially recorded, along with the "Barn Dance" section of Washington's Birthday (see Cowell, p. 110). The AG work-list mistakenly gives the premiere as "Danbury, CT, February 1932." In Work-list Alves lists the Set for Theatre Orchestra and then refers to a "Second Set" (Set No. 8 in this catalogue) implying that he thought of the Set for Theatre Orchestra as "First Set" in 1935 (perhaps just for the purposes of the work-list). The other works on the 21 Feb 1932 program were Mozart's Serenade No.3, Mussorgsky's Une Nuit sur /e Mont Chauve [St. John's Night on the Bare Mountain], and then (all marked as "1 re audition"): Bartok's Piano Concerto No. 1 (with Bartok as the soloist, apparently the first hearing for Paris), Cowell's Appositions, Dane Rudhyar's Vers le Reel, and Caturla's Trois Danses Cubaines. In a memo in Ives's misc. correspondence (CIP: IIIC/Box 37/l) he writes about mvt iii: "16ft stops in Swell manual & pedal it may begin at 'C' (p. 180 playing with upper Cello on 8', Great or Choir manual, the Pedal16', with Basses (arco) and the L.H. taking the two upper notes in the lower piano staff)3rd from bottom) marked 'X' .. .In any case, the number & arrangement of instruments is at the discretion of the conductor, and so that the solo part (Hom) will not be over covered." In a letter sketch for Harmony Ives's letter to Gerald Strang ofNew Music, 9 Nov 1940 (CIP: IIIB/Box 35/8), lves writes: " ... this whole movement [In the Night] is an attempt

85

to reflect those distant, almost silent sounds of nature on a quite summer night in a forestand perhaps some of the feelings & thoughts of a lonely old man who may be 'passing on[' ] -while the distant church bells are tolling." In a letter draft, no addressee, n.d. (possibly the second page of a letter, written concerning Leon Barzin's 1938 performance ofthe Set for Theater Orchestra, in CIP: IliA/Box 33/6, Miscellaneous) Ives writes: "Mr. I has received many protests again the hopelessly poor & stupid [revised to 'stupid & poor' ] way this music was conducted. It has been play[ed] often by different orchestra conductors and I

OVERTURES

021

have heard the performance here, and the effect was greatly beautiful... but Mr. B mangled it & messed it. Mr. I thought this score at least, was fool proof... The 1st [mvt] acts as a[n] Intro to 2nd movement- and ... the 3rd movement should have been played alone, if the 2nd is omitted. All the other conductors seem to sense this- but Mr. B apparently didn' t.. ." Quality List I a has: "#20 - Theatre Set - 3 Movements 'In the Cage', 'In the Inn' , 'In the Night' parts"; this indicates that I ves once held a set of parts (probably those used a the mvts ' s premieres) that are now lost.

C: OVERTURES Alcott Overture

21.

[mostly lost]

Other title(s): Orchard House Overture [see KirkC, p. 42 and f3991] Medium : Orch Duration : 7 mm. extant ([?]-Allegro moderato) [m. ?]

.,.

2

--.

or

-.1

~ "'

"'_____.I j

I ~

j

:

I

'--...L...--

1 trom

r

~

" "'--

11

" MS (12488)

Source: Sketch fragment on 4-stave systems, 4 mm. and 3 mm., I p. (f2488); this page is listed also under Symphony No. 2/iii, S I. (see Comment)

Developed, at least in part, into mvt iii (The A/colts) of Sonata No. 2 for Piano: Concord, Mass. [#088]; uses mm. 59--61, [?62--65], and 66--70 of mvt iii of Symphony No. 2 [#002].

Date: Composed in 1904, according to lves (see Comment).

Borrowing: BETHANY, MiSSIONARY CHANT, and probably Beethoven: Symphony No. 5/i.

Publication : None.

Literature: KirkC: ICI9; AG: -.Memos, 64n2, 65,82, 163;Feder 1992,258,260,278; Swafford 1996, 232, 241, 256.

Derivation: Apparently intended as part of the Set of Overtures: Men of Literature [#x653].

011

OVERTURES

Comment: Memos (p. 65) dates this work as "unfinished Alcott overture, 1904." A memo on Ives's Work-lists D-G for Sonata No. 2 for Piano: Concord. Mass.: "There was an Alcott Overture ( 1904) with a theme and some passages used in the Sonata [No.2 for Piano]";

22.

86

Work-list C gives the date as "1902-04." In an addendum to KirkC (p. 90), John Kirkpatrick suspects that two sketch pages (f3252, 3993) listed under Sonata No. 2 for Piano: Concord, Mass.liii (S I) are actually for this source piece.

Emerson Overture for Piano and Orchestra

[inc.)

Other title(s) : Emerson Concerto [see !2219); Overture No. 2 for Orchestra and Piano [see 10565). Medium : 2(picc)-0-2-2; 1-2-3-1; cel/glock/pf, solo pf; str [instr as named in Sl , probably inc.]; Porter reconstruction: Solo pf, picc-2-0-2-2-cbn; 2-2-3-1 ; glock/cel; str [12112/8/8/6] . Duration : c22 min., 338 mm. [in Porter reconstruction] (Adagio-Allegro)

Pf

Source: I . Fragmentary pencil score-sketch, on 4- to 8-stave systems, headed "for Overture #2 for Orchest. & Piano," 7 pp. (10565, 2212, 221418); patches[?), 3 pp. (!2213, 2223- 24). 2. Cadenzas and patches for pf, mostly pencil, headed "Centrifugal I Cadences I 'Emerson Concerto!," 12 pp. (!2219- 22, 2225,2227- 31 , 4784); photostat repro of£2221 - 22 and f4784, with added heading "[Quality List 2] #97" (f4780-81, 4785); photostat repro oflower portion of the fifth of these pp. (!2226 =bottom 7 staves of£2225). Ives slightly rev. and made annotations on various pages (!2219-22, 2225) after having photostat repro made (photostat repro, showing earlier state, f8021 - 25).

(Some of this material was recorded by Ives at the piano; see the related Four Transcriptions from "Emerson," Study No.2, No. 9, No. 11, and No. 23). Date: Sketched out mostly c1910-II and rev. (probably for the pf Four Transcriptions from "Emerson ") in 1919 or later. Although I ves did not enter the title in his Work-lists, he included it among the "Overtures for large and small orchestras ... From about 190 1-1912" (Work-list A version; an added comment appears in Work-lists B-G: "Some of these had to do with the lives and works of literary men"). While Ives recalls sketching out the work around 1910-11, he also dated it in Work-list

87

C as I 907. The entry for Sonata No. 2 for Piano: Concord. Mass. includes a comment, "the first movement was to be a piano concerto and was partially written as such," next to which Ives pencilled in the year I 907 (see Comment). In a letter from Harmony Ives to John Kirkpatrick (11 Oct 1935), Ives dictated: "[The Four Transcriptions from "Emerson" are from a] mostly uncompleted score for orchestra(1911)." AG: 1907. Publication: Performance materials in the reconstruction by David Porter are available for rent from Associated Music Publishers. Premiere: Porter reconstruction: Cleveland, 1 October 1998, Alan Feinberg (pt), Cleveland Orchestra, cond. by Christoph Dohrulnyi, at Severance Hall. (Program in the CIP: VIII Box 52/5.) Reviewed by Donald Rosenberg, Cleveland Plain Dealer (2 Oct 1998); Bernard Holland, NY Times (6 Oct 1998), p. El. Derivation: Portions developed from Studies No. 1 [#090], No. 2 [#091], No. 9 [#097], and No. 11 [#099], and into Sonata No. 2for Piano: Concord, Mass./i [#088], Study No. 23 [#107], and all mvts (especially i and iv) of Four Transcriptions from "Emerson" [#123] for pf. Planned as mvt ii of Set of Overtures: Men of Literature [#x653]. Borrowing: Beethoven, Symphony No. 5/i (mm. 1-2). Literature: KirkC; 1B5; AG: v25. Memos, 77, 79, 80n4, 163n, 189, 199-200,202, 203--04; Tune book, 193. See also correspondence with Peter Yates (CIP: IliA/Box 32/17, 17 May 1943 and reply [n.d.]). BlockB: W14, B192. Perlis 1974, 215 (John Kirkpatrick); Hitchcock/Perlis 1977, 69-70; Feder 1992, 261-{)2; Block 1997, 27-50. Comment: Some ofthe Source material applies equally to mvt i of Four Transcriptions from "Emerson" or Study No. 1, No. 2 and No. 9. (The material of the missing p. 4 ofS1 [between f2214 and f2215] is probably found in mvt i of Four Transcriptions from "Emer-

OVERTURES

022

son," mm. 13-18.) References to this orchestral score can be found on materials for mvt i (Emerson) of Sonata No. 2 for Piano: Concord, Mass. (f3901--02, f3908, f3937-39 & f3948) and Four Transcriptions from "Emerson" (f487375, f4885, f4895, f4904, f4938 & f4949). Ives makes further reference to this score in his "Performance Notes" for the 194 7 edn of Sonata No. 2 for Piano: Concord, Mass. In Memos (p. 77), Ives discusses this work as an example of how "one idea or set of ideas goes through so many transitions ... starting... as a male chorus, then overture or concerto for piano and orchestra, and finally a piano sonata." While Ives recalls starting the Emerson Overture as a work for male chorus and orch and later using the first five mm. for the song Duty, no music for male chorus survives, and there are no resemblances between the extant sketches and the song. In a letter ( 11 Oct 1935) to John Kirkpatrick about Sonata No. 2 for Piano: Concord, Mass. (repr. in Memos, pp. 199-202), Ives gives a somewhat different compositional sequence: "The Emerson movement did start, as you ask, with an orchestra in mind. It set out to be an overture with piano, but it was never fully scored or finished." In the same letter: "You ask about the transcriptions [Four Transcriptions from "Emerson"]. The first was mostly from a sketch of an Emerson Overture for orchestra and piano, referred to above. Around that time, 1910-11, I seemed to have the overture habit and started out to make a series of them on 'Men of Literature.' But they either were not completed or ended up in something else. Some of the things in the Emerson score went into the Sonata the next year." A short questionnaire appended to the letter includes a description of the Four Transcriptions from "Emerson" as being arr. "mostly from an uncompleted score for orchestra (1911)." Kirkpatrick, nonetheless, later concluded that the overture "was apparently from 1907, perhaps as far back as 1905 in its beginnings" (Perlis I974, p. 215). Another reference to a score (?or score-sketch) is found in a memo on a sketch p. for mvt i of Sonata No. 2

023 OVERTURES

88

for Piano: Concord, Mass. (S I, f3908) : "reduct ion for Sonata (from score for Piano &

23.

Matthew Arnold Overture

Orchestra) (see score safe 38 Nassau NY."

(inc.]

Other title(s) : Overture No. 3 [see f2335] Medium : I [2?]-1 (2?]-1 [2?]-2; 4?-2-3-1; str; unison chorus [instr, probably inc., as named in the source; no choral part survives] Duration : 30 mm. extant [see Source] (Adagio molto-Andante moderato-Allegro)

.,.

Adagio motto

-

-

-

-

oJ

:

p

: pp

r

tit

Thn

-

Va

r~u----u

~

Vn

I'

I

Vc, Bn

Ob ~

I~ rc:.J I.._ .bJ_;.n~J-- ~it=Vn2

Cl

~

Ci

I

~.1

_____ u_ _ _ u_______ u

Tuba Db(Bba)

Source: Pencil score-sketch on 7- and 9-stave systems, inc. (mm. 1-23 only), I p. , headed "Men of Literature Overtures #3. ' Matthew Arnold' I for (orchestra & unison voices)" (t2335); other pp. are lost except for a fragment ofp. 7 containing 4 mm. intended for a coda (f2336), an unidentified p. fragment with 3 mm. (f2337), and a p. containing a patch for va (f2699). [See song West London for orchestrational markings on pages of 114 Songs.] Date: Composed in Dec 1912, according to Ives. Dated 9- 15 Dec 1912 on p. I of the source MS Work-list 3 has "Jan 9-13, 1912." Although he did not enter the title in his typed work-lists, lves considered it one of the "Overtures for large and small orchestras... From about 1901- 1912" (Work-list A version; in Work-lists B--G he added the comment: "Some of these had to do with the lives and works of literary men"). AG: 9-15 Dec 1912. Publication: Performance materials in the realization by John Kirkpatrick available for rent from Merion Music.

MS(f2335)

Premiere: Realization by John Kirkpatrick: New Haven, CT, 20 Oct 1974, Yale Symphony Orchestra, and Yale Glee Club, cond. by Robert Shaw, in a concert of orchestral and other music by "Ives and Friends," given in Woolsey Hall, Yale University, as the fifth concert of the lves Centennial FestivalConference, sponsored by the Institute for Studies in American Music, Brooklyn College, CUNY, and the School of Music, Yale University. The concert incl. a work titled West London, described in the program as "conjectural version [of the song] for chorus and orchestra with the existing fragment of Matthew Arnold Overture as introduction ( 1911-21 ). " (Program repr. in Hitchcock-Per lis 1977, pp. 263- 64.) Derivation : A portion developed into the song West London [#388]. Planned as mvt iii of Set of Overtures: Men of Literature (#x653]. Borrowing: Probable borrowing: FOUNTAIN. Literature: KirkC: IB8; AG: v33. Memos,

89

76-77, 175n; BlockB: Wl6, Bl92; Feder 1992, 207. Comment: lves' s annotation at the head of the score-sketch (f2335) reads: "Men of Literature Overtures #3. 'Matthew Arnold' for (orchestra & unison voices). I (7 night job! Dec 9, 10, II, 12, 13,15 1912) I (I week Job Done-Good or Bad? But not all done)."

OVERTURES 024

In Memos (p. 77), lves states: "I can find nothing left of the Matthew Arnold Overture but the first page-! have a hand-organ reflecting the London streets-a part of which is practically the same as the song, West London." Kirkpatrick's realization, which remains unpublished, was made especially for the 1974 I ves Festival-Conference.

Overture and March "1776"

24.

Medium: 2 fl(2 pice), ob, cl; 2 cnt, tbn; perc (sn dr, b dr, cyrn), pf; str (opt. glock) Duration : 3 min., 76 mm. (Moderato-Adagio-March time) Adagio

Moderato

""".., Vnl

1----

" ~n2 Va

m~....- &

Ob

b:J.

-----

mp

I

ni>J

-----

1----

p

b:J.

-----

i>d--~

i>d--~

i>d--~

1_1__..-

I.......J _./

1.__1__..-

I

ni>J

-----

!,[-~

~n1"'

--~

pp

I

+Pf

#.nn:

: Vc

mp

Db(Bba)

Source: I. Pencil score-sketch, headed "Overture and March ' 1776' (for Uncle Lyrnans Opera as such Xmas Dec. 1903 Danbury," 5 pp. (f2483- 87). 2. Pencil patch for str, I p. (f0781 ). Date: Composed mostly in Dec 1903, according to lves, rev. cl907. At the top ofSI , p. I (f2483) is "Xmas Dec. 1903"; at the bottom of same page is "Pine Mt July 4 - 1904." Not listed in Ives's Work-lists, but this could be one of the overtures lves's referred to in Work-list A "Overtures for Large and Small Orchestras (Parts of these were made into songs for voice and piano- see Book 114 Songs, etc.)[.] From about 1901 to 1912"; Work-list B has "Overtures for large and small orchestras. Some of these had to do with the lives and works of literary men (and are not all

I

I _..../

::d

pp Merion (1976)

complete). Parts of these were made into songs and shorter pieces called 'Songs Without Voices.' Some were arranged (1921) for voice and piano (See published Song Album). From about 1901-1912." A memo on The Fourth ofJuly mvt (S3, f0797) of A Symphony: New England Holidays/iii reads: "[from] mixed-shank march 11901-11 " (see Comment). AG: 1903. Publication: Bryn Mawr, PA: Merion Music, 1975 (score for sale, parts for rent); lves Society critical edn [realization] by James B. Sinclair. Premiere: New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, in a concert oflves's music for theater orchestra given in Sprague Memorial Hall, Yale University, and sponsored by the School of Music in

015

90

OVERTURES

celebration of the lves centenary. (Program, listing the work as "first performance in new edition" in CIP: VII/Box 52/2.) Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33. First recording: Yale Theater Orchestra, cond. by James Sinclair, 13 Mar 1974 (issued in 1974 by Columbia Records, M-32969). Derivation: Intended as the overture to the proj. opera Benedict Arnold (#x716) (see Memos, p. 281). The outer portions were reworked into mvt ii (Putnam 's Camp, mm. 80-113, 144--45, and 157-63) of Three Places in New England [#007]. The whole was rev. into Overture: Nationals (#026) . Mrn. 41-42 (str parts) are used in mm. 24-25 of Largo Risoluto No. 1 [#074). Borrowing: Battle Hymn of the Republic, The British Grenadiers, Columbia, the Gem of the Ocean, Hail! Columbia, The Star Spangled Banner, Street beat, Tramp, Tramp, Tramp, Yankee Doodle.

25.

Overture in G Minor

Literature: KirkC: IC18; AG: vl3. Memos, 42n2, 83, 139, 281; Tune book, 191. See also correspondence with Henry Cowell (CIP: IliA/ Box 28/8, 5 Aug 1951 ). BlockS: W22, B554, B562. Elkus 1974, 23-24; Rossiter 1975, 101 ; Hitchcock!Perlis 1977,74, 77; Solomon 1989, 215, 216; Baron 1990, 40-49; Nicholls 1990, 25- 29; Feder 1992, 124, 181, 182, 244; Burkholder 1995, 387- 88; Swafford 1996, 167-68, 247. Discography: Oja 1982: 5399, 5400; BlockS: D4. (see Comment) Comment: S I (f2487) shows the b dr (and possibly others) continues a roll after the general cutoff, decresc. across the final barline, as a transition effect (perhaps a "curtain up") into the play/opera. It seems likely that, rather than the Trio section being used directly for The Fourth ofJuly, this music was reworked into Overture: Nationals (which then was adapted into mvt iii of A Symphony: New England Holidays) .

(inc.)

Medium: 2-2-2-2; 4-2-3-1; tirnp; str Duration : 291 mm. extant (in one or another of the sources, m. count as in KirkC, p. 29); another 33 mm. [the end of the work?) inS I (Lento-Allegro moderato)

MS(t2163)

Source: I. Pencil score-sketch on 4-stave systems, inc.

(mm. 1-17, 53-61 , 65-291 only, with another 33 [final?) mm.), 13 pp. (f2149-53, 2155-62);

91

rej. sketch p. (£2154). 2. [First?) pencil full score, inc. (mm. 1- 58, 61-96 only), 16 pp. (£2163- 78). 3. [Second?) pencil full score, paginated in ink, differing in numerous passages from S2, inc. (mm. 51 - 105, 149-75, 198- 212 only), 24 pp. (£2179- 2202).

Date: Composed possibly in 1895; no date in the sources. Though not mentioning this work by title in either Memos or the work-lists, lves probably considered it one of the "Marches, Short Pieces, Overtures, etc. for Orchestra from about 1894 to I 904" listed in Work-list A. It is possible that this work, along with the Postlude in F, was composed for Prof. Parker's instrumentation class, which lves took during his last two years at Yale ( 1896-98). KirkC: 1895?; AG: ?1895.

OVERTURES

026

Literature: KirkC: IB2; AG: v6. Memos, 149nl6. BlockS: WI!. Comment: The title, lacking in the sources, is editorially supplied in KirkC. Not only do all three sources lack various pp. (presumed lost), but 82- 3 also contain numerous blank staves (amounting in several places to whole pp.) for instr parts that were not written in, suggesting that the work may have been left unfinished. Although there are neither headings nor explanatory marginal annotations in any of the sources, KirkC (p. 29) sunnises that the work might have been one of the lost orch Set of Overtures: In These United States. In Memos (p. 149nl6), Kirkpatrick speculates that lves ' s entry on MS Work-list 2 " I Overture (alia Zampa)" may refer to this work.

Publication: None.

26.

Overture: Nationals

[mostly lost)

Other title(s): Expansion of"1776" [see KirkC, p. 34] Medium: Picc-I-1-1-1; 1-1-2-0; b dr, xyl, gong, glock, small & large clay water pipes, [other unidentified perc]; str Duration: II mm. extant (Allegro-Adagio- [?]) Allegro Fl Ob

Adagio #.

r11l

L., J Vn I (div. 10)

[7}

01

~

v;2 (div. 10)

Str

..H

:

~

I ~r: I

Vc (div. 6) Db (div. 4)

: ~

ff

..

I

I

[3}

...

decrescendo

·v ....-

-;

~

&

[7}

h.J C" .J:""J'""Ti

IP

jff [5}

pp

~

v..._

Va (div. 8)

-

[·.#."l

---------

...k. #~~

~

b# .

Obi p

all hold 1":'1 :::::!

"II

Fl

~

-----

. t\

MS(f2338)

027 OVERTURES

Source: 1. Full score, inc.: t.p. and 1 m. patch, "III I 38 Nassau St NY I rev. 1914-15 from the old Theater Or[chestra] 'Overture & March['] 1st 1902-4" (t2338); a positive photostat oft.p., more complete (f8102); 2 pp., mm. I-{) and 5 other mm. (t2339-40). 2. Photostat repro ofp. seen in t2339 (Sl), marked by Ives ''Sec I" undoubtedly in reference to the mvt ii of Orchestral Set No. 3, 1 p. (t2341). 3. Possible sketches, 1 p. (ffi923). Date: Adapted in 1914-15, according to lves (S 1), from music composed mostly in Dec 1903. Publication: None. Derivation: Adapted from Overture and March "1776" [#024]. Probably this version developed (c1917) into mvt iii (The Fourth of July) of A Symphony: New England Holidays [#005]. Portions developed into mvt ii of Orchestral Set No. 3 [#009] (t2341 of this is equivalent to fl792 of the Orchestral Set No. 3/ii). Borrowing: None on the surviving sources. Literature: KirkC: 1B9; AG: - . Comment: The title is an editorial decision to

27.

92

marry a title having no music to music having

no title. While the marriage seems a reasonable interpretation of the evidence, it is possible that Ives's reference to an "Overture 'Nationals"' (p. 1 ofS3, f0797) simply reveals an alternate title for The Fourth ofJuly mvt of A Symphony: New England Holidays. The pencil score of the Holidays mvt (S3, f0797) is headed by a titling that can support either conclusion (depending on what words where written in first) and reveals a once different order for the Holidays: ''(4th Sytnphony) Jist movement I Overture 'Nationals' I I I 01f!MtM 'NA)

Pf

lfl [>)

Merion (1975)

Source: I. Set of ink parts, copied by George Ives: pice, I p. (f2342); cnt 1-2 in A, I p. (f2343); vn 1-2, I p. (f2344); pf, 3 pp. (£2346-48); all parts headed "Holiday Quick Step" except for vn 1-2, headed "Holiday March." 2. Another vn 1-2 part [copied by Ives?], inc. (mm. 1-36 tom off), I p. (f2345). Date: Composed in Dec 1887. The pfpart (Si, f2346) is dated: "Xmas 1887." MS Worklist 2: "Holiday March, 1885-86, Wooster Band Danbury"; not listed in Ives's typescript work-lists; Quality List 2: "father's copy, 1886." AG: Dec 1887. Publication: Bryn Mawr, PA: Merion Music, 1975 (score and parts for sale); Ives Society critical edn by James B. Sinclair. Premiere: Danbury, CT, 16 Jan 1888, by a theater orchestra, cond. by George Ives, at

Taylor's Opera House. Review, unsigned, in the Danbury Evening News ( 17 Jan 1888), p. 3. This version was played again in Danbury, 25 Dec 1888 by the young people's orchestra of the Methodist Sunday School. First modem performance: New Haven, CT, 19 Oct 1973, Yale Theater Orchestra, cond. by James Sinclair, in an all-Ives concert sponsored by the Yale University School of Music, given in the Music Annex, Room 31 0; the performers used Sinclair's critical edn. The work was given again in New Haven by the same performers on 3 Mar 1974 in a concert of I ves' s theater orchestra music given in Sprague Memorial Hall and sponsored by the Yale School of Music in celebration ofives's centenary. (Program for the latter concert, listing the work as "first modem performance," in CIP: VII/Box 52/3). Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33.

029 MARCHES

96

First recording: Yale Theater Orchestra, cond. by James Sinclair, 13 Mar 1974 (issued in 1974 by Columbia Records, M-32969).

siter 1975, 38- 39, 44, 51; Feder 1992, 95, 107, 112, 241; Burkholder 1995, 14-16,219, 221; Swafford 1996, 52- 53, 98, 253.

Derivation: Possibly derived from (or arr. into) the lost band Holiday March [#x662] which may itself be based on the mostly lost Schoolboy March in D and F, Op. 1 [#056]. Apparently arr. for the lost Holiday Quickstep for Organ [#x689] (see Comment).

Discography: Oja 1982: 5333. (see Comment)

Model: David Wallis Reeves, Second Regiment Connecticut National Guard March. Borrowing: Reeves, Second Regiment Connecticut National Guard March. Literature: KirkC: ICI; AG: vi. Memos, 148, 149nl7. See also Diary 4 (CIP: V/Box 45/4, 25 May 1890 and 15 June 1890). BlockB: Wl7, Bl92, B297, B554, B559 (review pub!. in Burkholder 1996, p. 274-75), B560. Cowelll955, 27; Elkus 1974, 18, 28; Ros-

29.

Comment: Apparently either lves or his father arr. the work for band (cf. MS Work-list 2, under "Brass Band"), but no sources of a full score survive; likewise, lves must have arr. this march for org (for references to both versions see Rossiter, pp. 44 and 330 n87, and KirkC, p. xxxiv errata for p. 105; see also Diary 4 [Charles lves's list of the music played and sung in the Sunday morning and evening Baptist Church Services, 1889-1891] entry for 25 May 1890, A.M. service: Postlude: "March, Holiday. lves," and entry for 15 June 1890, P.M. service: Postlude: "Holiday Ives"). This work may be performed with as few violins as one on a part (the "theater orchestra" of lves's Danbury years was not likely to have more than two or three on a part).

March No.2, with "Son of a Gambolier"

Medium: Fl, cl; cnt/tpt, tbn, tuba/db; perc (sn dr, b dr, cym, tr); 2 vn Duration: 3 min., 91 mm. (In a fast two-step time)

Vn I

Tuba

In a fast two-step time

If I

Source: I. Fragmentary pencil and ink sketches, 4 pp. (t2353, 4729, 4733, 4734).

Peer (1977)

2. Ink full score, with ink and pencil emendations, headed "Rim. II (with tune 'Son of a gambolier)," 11 pp. (t2354-64).

97

Date: Composed in 1892, according to Ives. Dated 1892 on p. I ofS2 (t2354). Though not mentioning this work by title in either Memos or the work-lists, Ives probably considered it one of the "Marches, Short Pieces, Overtures, etc. for Orchestra from about 1894 to 1904." KirkC: MS: 1892 (?); AG: 1892. Publication: New York: Peer International, 1977 (score and parts for sale); Ives Society critical edn by Kenneth Singleton. Premiere: New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, in a concert oflves's music for theater orchestra given in Sprague Memorial HaU, Yale University, and sponsored by the School of Music in celebration of the Ives centenary; the performers used Singleton's critical edn. (Program, listing the work as "first modern performance," is in CIP: VII: Box 52/2). Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33.

MARCHES

030

cond. by James Sinclair, 3 Apr 1974 (issued in 1974 by Columbia Records, M-32969). Derivation : Arranged from March No. 2for Piano, with "Son of a Gambolier" [#110]; music later adapted for the song A Son of a Gambo/ier [#353]. Borrowing: A Song of a Gambolier. Literature: KirkC: 1C4; AG : v2. Memos, 39, 40n5; Tunebook, 189. BlockB: Wl8, B554. Elkus 1974, 23, 26; Burkholder 1995, 220; Swafford 1996, 64. Discography : Cohn 1981 , 909; Oja 1982: 5368-69. (see Comment) Comment: The numbering of this march is editorial. Only S2 offers the clue (" Rim. II") that this march could be titled "No. 2" (but the meaning of the heading "Rim. II" remains otherwise obscure). The musical quotation appears in the second strain only.

First recording: Yale Theater Orchestra,

30.

March No. 3 in F and C

[inc.]

Medium : Fl, cl; cnt, tbn, basso[/tuba]; dr; 2 vn (in the source, staves for cl2, hn, cnt 2, va, and vc are empty; see Comment) Duration : 34 mm. extant ([no tempo heading])

MS (!2366)

Source: FuU score (partly lost): t.p. (t2365) and 4 pp. (t2366-69).

Date: Composed or arranged probably in 1892 or 1893. KirkC: say 1892 or 93?. AG:- .

98

031 MARCHF.S

Publication: Assigned to Peer International Corp. (see Comment).

Literature: KirkC: I C5; AG: - . Memos, 3940, 130, 149, 153, 183.

Premiere: New Haven, 21 Oct 1974, Yale Theater Orchestra, cond. by James Sinclair, in an "lves Potpourri" concert of music for chamber orchestra and chorus, given in Sprague Memorial Hall, Yale University, as the seventh and final concert of the lves Centennial Festival-Conference, sponsored by the Institute for Studies in American Music, Brooklyn College, CUNY, and the School of Music, Yale University. (Program, citing a "first performance", in CIP: VII/Box 52/3; repr. in Hitchcock/Pedis 1977, pp. 266--67.)

Comment: The title on f2365 reads: "III in F, C March or Twostep ... 10 Chapel Pl. Danbury Conn." The surviving materials include the t.p., 17 mm. of the [?first] section, and 17 mm. of the final section. These materials are used in "Set oflncomplete Works and Fragments," ed. and arr. James Sinclair and Kenneth Singleton (available for rent from Peer International). Ives enters "Drums" but does not write out a part. There are two other unrelated marches called "No. 3": orch March No. 3, with "My Old Kentucky Home" and March No. 3 for Piano, with "Omega Lambda Chi. "

Derivation: This march may have been derived, like others for chmbr orch, from a hypothetical, earlier pf version, in this case lost (KirkC: 387).

31.

March No.3, with "My Old Kentucky Home"

Medium : Fl, cl; cnt, tbn, tuba; perc (sn dr, b dr, cym); 2 vn Duration: 2:30 min., 114 mm. ([In march time]) [In march lime]

>

If-PI

Source: I. Fragmentary pencil sketches, 3 pp. (f237070A, 7421[=KirkC: 7E12]). 2. Full score, mostly in ink with some pencil emendations: t.p. "III in F, C (with the Air 'Old Kentucky Home')" (f2371); 14 pp., head-

Merion (1975)

ed " Rim. III." (f2372-85). Date: Composed probably c 1892; no date in the sources. Though not mentioning this work by title in either Memos or work-lists, Ives probably considered it one of the "Marches,

99

MARCHES

032

Short Pieces, Overtures, etc. for Orchestra from about 1894 to 1904." KirkC: say 1892 or 93 or 94 ?; AG: 1892.

First recording: Yale Theater Orchestra, cond. by James Sinclair, 3 Apr 1974 (issued in 1974 by Columbia Records, M-32969).

Publication: Bryn Mawr, PA: Merion Music, 1975 (score and parts for sale); lves Society critical edn by Kenneth Singleton.

Derivation : This march may have been derived, like others for chmbr orch, from a hypothetical earlier pf version, in this case lost (KirkC: 3B8). Mm. 74-89 are used in the song William Will [#396] (mm. 25- 32).

Premiere: New Haven, CT, 19 Oct 1973, Yale Theater Orchestra, cond. by James Sinclair, in an all-Ives concert sponsored by the Yale University School of Music, given in the Music Annex, Room 31 0; the performers used Singleton's critical edn. (Program for this concert in CIP: VII/Box 52/ 1). The work was performed again by' the same performers on 3 Mar 1974 in a concert of lves's music for theater orchestra, given in Sprague Memorial Hall, Yale University, and presented by the School of Music in celebration of the lves centenary. (Program, listing the work as "first modem performance," is in CIP: VII/Box 52/2). Reviewed by Gordon Emerson, New Haven Register (5 Mar 1974), p. 33.

32.

March No. 4 in F and C

Borrowing: My Old Kentucky Home . Literature: KirkC: IC6; AG: v3. Memos, 39, 40n5; Tunebook, 189. BlockB: WI9, BI96, B554. Burkholder 1995, 220-24; Swafford 1996,91, 124. Discography : Oja 1982: 5370. (see Comment) Comment: Foster's tune appears in the second strain only. There are two other unrelated marches called "No. 3": orch March No. 3 in F and C and March No. 3 for Piano, with "Omega Lambda Chi."

[inc.]

Medium : Fl, cl; cnt, tbn, basso[/tuba] ; pf, dr; 2 vn (in the source, staves for ob, va, and dr are empty) Duration: 28 mm. extant ([no tempo heading])

MS(f2386)

Source: Full score (partly lost), 4 pp. (f238689). Date: Apparently arranged c1892-94; by the address on the source, after 9 May 1889.

KirkC: say 1892 or 93 or 94?. AG:-. Publication : Assigned to Peer International Corp. (see Comment).

100

033 MARCHES

Premiere: New Haven, 21 Oct 1974, Yale Theater Orchestra, cond. by James Sinclair, as part of the "Set oflncomplete Works and Fragments," in an "Ives Potpourri" concert of music for chamber orchestra and chorus, given in Sprague Memorial Hall, Yale University, as the seventh and final concert of the lves Centennial Festival-Conference, sponsored by the Institute for Studies in American Music, Brooklyn College, CUNY, and the School of Music, Yale University. (Program, citing a "first performance," in CIP: VII/Box 52/3; repr. in Hitchcock!Perlis 1977, pp. 266-67.)

39-40, 130, 149, 153, 183.

Derivation : This march must have been derived, like others for chmbr orch, from a hypothetical, earlier pf version, in this case the lost March No. 4 for Piano [#x682]. Comment: The numbering of this march is editorial. The surviving materials include the first 28 mm. only (intro, first strain, and 8 mm. of the second strain). These materials are used in "Set oflncomplete Works and Fragments," ed. and arr. James Sinclair and Kenneth Singleton (available for rent from Peer International).

Literature: KirkC: IC7; AG: -.Memos,

33.

March: The Circus Band

Other title(s): The Circus Band [see f2391]; The Circus Band Comes Down Main Street [see f7828]. Medium: Version I: [FI, cl; cnt, tbn, tuba/db; perc (sn dr, b dr); 2 vn]. Version 2: Male chorus and solo Bar, cl, tbn, dr [sn dr, b dr, cym], pf. Version 3 (Roberts orchestration): Pice, fl, 2 cl; tpt/cnt, 3 tbn, tuba; perc (sn dr, b dr, cym); 2 vn, db (opt. vc, SSATTBB chorus). Duration: 2:30 min., 96 mm. ([In quickstep time-a little slower]) Version 2:

J

In quickstep time about = 132 ~

Tutti

iii

e

Sn Dr BDr + Cy m Peer ( 1969). ed. Singleton

Source: Version l [mostly lost] I. Fragmentary pencil sketch toward mm. 1- 3, 25-27 (f7547). 2. Pencil sketch (originally for the version for pf), 3 pp. (f4749-51). 3. Full score in pencil with some ink overwrit-

ing, mostly lost, surviving p. 12 covers mm. 82-88 (f2390), staves not labeled (identified in Medium, above). Version 2 [projected] 4. Emendations and annotations toward an orchestration, on pp. tom from a copy of 50

101

Songs, pp. 128-30, 3 pp. (f8119-21).

Version3 5. Full score in pencil copied by George F. Roberts with many additions by Ives, 20 pp. (12391-2410). 6. Ives's patches in pencil for S4, 5 pp. (12411-15). 7. Full score in ink copied by Roberts with pencil corr. and addenda by Ives (mostly erased and entered by Roberts in ink), title changed in pencil to "The Circus Band comes down Main Street," 22 pp. (t7828-49).

Date: Version 1 arr. probably in 1899, possibly based on now lost material from 1894. Listed in MS Work-list 2 under "Brass Band" works, but no date given. KirkC: 1894?. AG: - . Version 2 mapped probably in mid to late 1920s. Version 3 arr. probably in mid to late 1930s. Publication: New York: Peer International, 1969 (Version 3, Roberts orchestration; score and parts for sale). Premiere: Kenneth Singleton's realization of Version 2: West Redding, CT (on Ives's property), 17Aug 1974, Paul Winter Consort (supplemented by members of the Yale Theater Orchestra), cond. by James Sinclair, in an allIves concert, entitled "The Charles Ives Show." (Program in the CIP: VII/Box 52/3.) Version 2 was also performed in New Haven, CT, 21 Oct 1974 ("First performance in this version"), by the Yale Theater Orchestra and Chorus, cond. by James Sinclair, chorus (Jere Lantz cond.), in an "Ives Potpourri" concert of music for chamber orchestra and chorus, given in Sprague Memorial Hall, Yale University, as the seventh and final concert of the Ives Centennial Festival-Conference, sponsored by the Institute for Studies in American Music, Brooklyn College, CUNY, and the School of Music, Yale University. (Program repr. in Hitchcock/Perlis 1977, pp. 266--67.) First recording: Version 3 (with chorus): The

MARCHES

033

Columbia Chamber Orchestra with The Gregg Smith Singers (Archie Duke, B), cond. by Gregg Smith, 7 July 1965 (issued in 1966 by Columbia Records, MS-6921 ). Derivation: Version 1 arr. from the March for Piano: The Circus Band [#115]. Versions 2 and 3 arr. from the song The Circus Band [#229]. (see Comment) Borrowing: Version 3: Jolly Dogs, Marching Through Georgia, Riding down from Bangor, Reuben and Rachel. All versions use a Street beat as an intro to the second tempo. Literature: KirkC: 1C8; AG: -.Memos, 36, 148, 171; Tunebook, 198. BlockB: W73, Bl50, B742. Elkus 1974,20-23, 25; Hitchcock/Perlis 1977, 118; Burkholder 1995, 271, 372; Swafford 1996,244, 327. Discography: Cohn 1981: 902; Oja 1982: 5299-5301; BlockB: Dl2. Comment: Version 3 orchestrated by George F. Roberts (c1934-35 or 193~0) for chmbr orch with optional chorus mapped by Ives. Ives's memo to Roberts above m. 1 ofS4 ("have clar in 1st 2 meas play as in book") makes it clear that Roberts was working from the 114 Songs version. In a conversation with John Kirkpatrick (29 Oct 1959), Roberts recalled that his orchestration was requested by Ives "for a historic pageant up in Danbury ('39 or '40)--

f

I

Tuba>

f

A'S:x

=B"'""''"'I

......-

.___:

-

>

~.,.--

Hn Tbn Bn

.......,;;A

f

>

>

f

>

~.,.--

>

i

f

-

~.,.--

f

~.,.--

I

i Peer (1990)

117

OTHER ORCHESTRAL WORKS

043

iv. Ragtime Dance No. 4 (Allegro-Slowly, 3 min., 108 mm.). Medium: l(picc)-1-1-0; alto sax; 0-1-1-1; drum set (sn dr, b dr, opt. sus cyrn), pf; str. Allegro Vn 1-2

Vc

[pizz.]

Db [pizz.]

Source: No. I I. Fragmentary pencil sketches, 4 pp. (1244344, 3800, 6889). 2. Pencil sketch on 2-stave systems, headed "znd Verse 1st V original same as 2 pianos" [2-pfversion lost], 3 pp. (12452-54); patch, I p. (12451 ). 3. Ink score-sketch on 2-stave systems, inc. (score cut into fragments), headed " II. (I st Verse)," 5 pp. (12464--68); patch, I p. (fl803). 4. Fragment of pencil fuU score (mm. 94-99 only) [probably intended for Three Ragtime Dances/ii], I p. (12481). No. 2 I. Fragmentary pencil sketches, 5 pp. (fl803, 2439, 2441, 2446, 3800); a positive photostat of third p. (=f2441) shows an earlier memo with "Thanksgiving Day 1904" (f8078). 2. Pencil sketch, inc. (mm. 1- 2, 5- 10, 12- 14 only), I p. (12447). 3. Pencil sketch on 2-stave systems, headed "1st Verse I +st 2[nd] Verse," 2 pp. (1245051); patch, I p. (12449). 4. Ink score-sketch on 2-stave systems, inc. (lacking mm. 1- 2), headed "(2nd Verse)," 4 pp. (12469-2472). 5. Fragmentary pencil sketch of2-pfarr. (mm. 3- 5 only), I p. (12449) [intended for Ragtime Dances for 2 Pianoslii]. No.3 I. Fragmentary pencil sketches, 2 pp. (1244142).

-.f

=~

Peer(l990)

2. Pencil sketch on 2-stave systems, inc. (lacking mm. 1--6, 62--63, 71 - 73, 108-110), headed "3rd version I 3rd Verse," 3 pp. (12455-57). 3. Ink score-sketch mostly on 2-stave systems, inc. (lacking mm. 1--6, 18-54), headed "(3rd Verse)," 4 pp. (12472- 75); pencil patches, I p. (12445). 4. Fragment of pencil fuU score (mm. 1-13 only) [probably intended for Three Ragtime Dances/iii], headed "Intro. 3rd R. T. Dance," 2 pp. (12481-82). No.4 I. Fragmentary pencil sketches, I p. (12444). 2. Pencil sketch mostly on 2-stave systems, inc. (lacking mm. 26-41 , 62, 95-101), 4 pp. (12458--60, 2446); patches, 2 pp. (12457, 2462). 3. Ink score-sketch mostly on 2-stave systems, inc. (lacking mm. 6--10), 6 pp. (12475-80). Complete work I. Pencil sketch, inc., aU four dances notated consecutively on II pp. (see individual sources above): t.p. "II I Sonata for Piano #21 2nd movement! III [changed to:] II I 2nd movement I Sonata #I for Piano" (12448); coUation: pp. 1-2 (no. 2, S3); 3- 5 (no. I, S2); 6--8 (no. 3, S2); 9-11 (no. 4, S2). 2. Ink score-sketch, inc., aU four dances notated consecutively on 17 pp. (see individual sources above), with numerous pencil emendations and annotations toward orchestration: t.p. "II" [referring to Sonata No. I for Piano]

043 OTHER ORCHESTRAL WORKS

(t2463); collation: pp. 1-5 (no. 1, S3); 6-9 (no. 2, S4); 9 [10-11lacking], 12-14 (no. 3, S3), 14-19 (no. 4, S3).

Date: Earlier materials sketched c1899-1902, according to Ives; pencil score for pf, 1902; ink score for pf, 1904; surviving fragment of full score (probably intended for Three Ragtime Dances), 1911; but paper types may indicate composition in 1912-14, ink score c1919. In Ives's Memos (p. 92) he recalls, "ragtime dances for small orchestra which grew up between 1902 and 191 0-11, generally speaking." The earliest date given on the MSS is on Four Ragtime Dances, no. 1 (S 1, f3800) [added later?]: "Hyperion or[chestra] 1899." However, the surviving pencil sketches for all mvts are on paper not available until 1912 and 1913. The pencil sketch is dated on Four Ragtime Dances, no. 4, S2 (t2460) "Finished July 14, '02" and Four Ragtime Dances, no. 2 (t2450) has "1902 Sep 21 Danbury"-but on S 1 [t2442] has "piano arrangements from 1 & 2 3 verse Rag Time Pieces (Fiddles 2, Clar, Piano, Trombone played by Fitchl [recte Frank Fichtl, orch leader at the Hyperion Theater] New Haven May 21-1904)"-, while the t.p. of the complete pencil sketch (t2448) is "4 (of 9) Ragtime Pieces 2nd & 4th mov[ements] from 9 Ragtime Pieces Theater orch set 1902 NH Ct OS other '09." A positive photostat (f8081) of a fragmentary pencil sketch for no. 2 (Sl) has "Thanksgiving Day 1904." The fragment of full score (t2481 [probably for Three Ragtime Dances]) is dated at the end of music equivalent to Four Ragtime Dances, no. 1, "Finet, Elk Lake Sept. 21 1911-2nd Ragtime Dance." Work-list A has "Rag Time Dances (about a dozen) (Mostly for small theatre orchestra. Some of these were arranged for various combinations of instruments, some for piano, and used as scherzos in some of the Piano and Violin and Piano Sonatas and Orchestral Sets later)[.] From about 1900 to 1911"; Work-lists B-G emend date to "1900-1911." AG: 190204. Publication: New York: Peer International,

118

1990 (score for sale, parts for rent); Ives Society critical edn by James B. Sinclair, full critical commentary in CIP and available from Peer. Premiere: No 1: New Haven, 22 Apr 1976, Chamber Orchestra of New England, cond. by James Sinclair, in a concert in Sprague Memorial Hall, Yale University. (Program, listing the work as a ''world premiere," in CIP: VII/Box 52/4.) Reviewed by John Morgan, New Haven Register (23 Apr 1976). No.2 and no. 4: New Haven, 21 Oct 1974, by the Yale Theater Orchestra, cond. by James Sinclair, in an "Ives Potpourri" concert of music for chamber orchestra and chorus, given in Sprague Memorial Hall, Yale University, as the seventh and final concert of the Ives Centennial Festival-Conference, sponsored by the Institute for Studies in American Music, Brooklyn College, CUNY, and the School of Music, Yale University. (Program, listing both works as "first performance in this version," in CIP: VII/Box 52/3; repr. in Hitchcock/Perlis 1977, pp. 266-Q7.) No.3: New Haven, 25 Feb 1976, by the Chamber Orchestra ofNew England, cond. by James Sinclair, in a concert in Sprague Memorial Hall, Yale University. (Program, listing the work as ''world premiere," in CIP: VII/ Box 52/4.) Reviewed by Gordon Emerson, New Haven Register (26 Feb 1976), p. 26. An earlier run-through is noted on Four Ragtime Dances, no. 3 (S1, t2442), where Ives notes a tryout of nos. 1-2 in New Haven, 21 May 1904, by a small ensemble, cond. by Frank A. Fichtl, at the Hyperion Theater. In Memos (p. 119), he cites another informal reading: "Joseph Reutershan ( .. .it must have been somewhere between 1903 and 1906) got the afternoon orchestra playing at Keith's Theater, then in 14th Street, New York City, to play some of those small-orchestra ragtime dances. (As I remember, this was part of the second movement of the Second Orchestral Set [=Four Ragtime Dances, no. 3], and also a part of the movement of the Theater Orchestra Set and the First Piano Sonata [=Four Ragtime Dances, no. 1]." On the full score of

119

Orchestral Set No. 2/ii (fl281) Ives relates an apparently problematic reading of no. 3: "1st written as short series of rag-time pieces for small orchestra, shown to Kaltenbom for St. Nicholas Rink Concerts NY 1902 said too hard to play!" First recording: Orchestra New England, cond. by James Sinclair, 25 Feb 1990 (issued in 1990 by Koch International, KIC-7025). Derivation: No. l: Partly derived from the inc. Skit for Danbury Fair [#046]; apparently arr. from Ragtime Dances for Two Pianos/i [#129] (see memo on S2); later directly incorporated into Sonata No. 1 for Piano/iib [#087] and mostly reworked into Set for Theater Orchestralii [#020]. Portions also reworked for Three Ragtime Dances, no. 2 [#042], and Orchestral Set No. 2/ii [#008]. Portions are quoted in the "Country Band" March [#036] and the 2-pf Three Quarter-Tone Pieces/ii [#128]. No.2: Partly derived from the inc. Skit for Danbury Fair [#046]; arr. from or into the 2pf Drum Corps or Scuffle [#127] and Ragtime Dances for Two Pianos/ii [# 129]; directly incorporated into Sonata No. 1 for Pianolii" [#087]; portions reworked for Orchestral Set No. 2/ii [#008]. No.3: Most of the music developed into

Orchestral Set No. 2/ii (The Rockstrewn Hills Join in the People's Outdoor Meeting) [#008); also reworked for Three Ragtime Dances, no. 3 [#042]. No. 4: Directly incorporated into Sonata No. 1 for Pianolivb [#087]; a portion quoted directly in the 2-pfThree Quarter-Tone

44.

Nine Ragtime Pieces

[mostly lost]

Medium: [Chmbr orch or chmbr ens] Duration: Unknown

OrnER ORCHESTRAL WORKS

044

Pieceslii [#128]. Borrowing: All four mvts: BRINGING IN TilE SHEAVES, HAPPY DAY, WELCOME VOICE.

Literature: KirkC: 1Cl7; AG vl2. Memos, 56, 74-75, 92, 130, 150, l53n, 155-56, 165n; Tunebook, 191. BlockB: W21, B295, B651. Rossiter 1975,41, 65, 98-99, 151; Feder 1992, 175; Burkholder 1995, 212-14; Swafford 1996, 152, 163-65, 229, 236, 360. Comment: The ordering of nos. 1 and 2 follows that of the complete ink score-sketch (inverted from that of the earlier complete pencil sketch). Ives signed in at his Yale senior society's house, Wolfs Head, on dates possibly related to those cited in Date and Premiere: ll and 30 May 1899,25 Nov 1899, 22 Nov 1902, 26 May 1903, and 27 June 1904. In a memo (thoughts toward Memos, p. 119) Ives writes (probably in the late 1920s): "Reutershan (music store 14 stat Hudson, 26 Liberty must [be] between 1904-6 & while with G. Schirmer Union Sq 190-8-10 [sic], got some of my Rag Time Pieces (small orches) & part of 1st Piano Sonata-played at Keiths-Some of Orchestra liked it & made part of it go-but the manager made them stop -said it made too much of a disturbance. Later some of these Rag P[ieces] were arranged for piano-simplified & spoiledsome of the orig small orch score, were lost-I began to rescore some of them for Piano Sonata about lO years ago (Also [with the help of Jerome] Goldstein) but gave it up." [CIP: V/ Box 45/12 (Miscellaneous)]

045

120

OTHER ORCHESTRAL WORKS

lntro

Trombone

-------

,..--...

:

-..-.-.. R~

I.

~

f :

r~J.

F==F=Fi r----

:

A

..

A

#~·=. "•

--v

.

:/.

:/.

i

JJ'""'))

I

. ...... m

.J .Ji.J r~

,_

q't..::

rr

MS (f2439)

Source: Sketches and patches, 6 pp. (f0883, 2439-40, 3800, 3816, 6764). These materials are a collection of ragtime-like fragments that are scattered among Ives' s MSS; the most substantial is the 8-m. "Intro" for tbn and pf (f2439). Date: Materials sketched possibly cl8991902. A note by Ives on the t.p. of the complete pencil sketch of Four Ragtime Dances (f2448) gives date as 1902, but on sources for this set (f3800) is a reference to an earlier performance of some of this material "Hyperion Or[ chestra] 1899." (I ves signed in at his Yale senior society' s house, Wolfs Head, on II and 30 May, and 25 Nov 1899.) Publication: None. Derivation : Some of this material developed into the Four Ragtime Dances [#043] . The ragtime material of the original mvt iii of PreFirst Sonata for Violin and Piano [#059] (later used as the second mvt [In the Barn] of Sonata No. 2for Violin and Piano) was prob-

45.

ably part of this set. Literature: KirkC: IC16; AG: - . Memos, 56, 130, 150, 153n, 155-56, 165n. Swafford 1996, 163-65, 229, 360. Comment: There are three references to this work. The first is on the t.p. of the complete pencil sketch (Sl) of Four Ragtime Dances (f2448): "4 (of9) Ragtime Pieces 2nd & 4th mov [i.e. of Sonata No. 1 for Piano] from 9 Ragtime Pieces Theater orch set 1902." A second reference is on the ink score (S I, f3734) of the complete mvt ii of Sonata No. 1 for Piano: "one of9 ragtime pieces." A third reference is in lves' s MS Work-list 2: "Rag Time Dance (about a dozen) Mostly for small theatre orchestra. Some of these were arranged for various combinations of instruments, some for piano, and used as scherzos in some of the Piano and Violin and Piano Sonatas and Orchestral Sets later)[.] From about 1900 to 1911 ." (This last reference appears, in various forms, in Ives' s later work-lists.)

The Rainbow

Other title(s): Andante con spirito [see Work-list B]. Medium : Fl, basset hn/Eng hn (or med voice), hp, org, str [Version 2 uses pfinstead ofhp and org] Duration : 2 min., 18 mm. (Andante con spirito)

121

OTHER ORCHESTRAL WORKS

045

Fl

Andante con spirito

f~ Vc 2 Db

r

Source: Version I I. Pencil score-sketch (using org), inc. (mm. 5-11 torn off), with song text, 2 pp. (f2700-2701); patches (toward S2), 2 pp. (f2702, 3806).

Version 2 2. Ink copy in full score by Copyist 18 (using pf), made under George F. Roberts's supervision, with song text, headed "The Rainbow (Wordsworth)," 6 pp. (f2703-08); this source was probably intended for use as mvt iii of Set ofThree Pieces for Chamber Ensemble, No. I. Date: Composed in 1914, according to lves. At the end ofSI (f2701): "To H.T.I. on her first birthday in Redding June 4 1914." Not listed in Work-list A, which contains a general entry only: "#21-Sets for Basset-Horn, Trumpet, Cornet or English Horn Solos, with small Orchestras-some called 'Cartoons'; and 'Songs without Voices.' Of these some were arranged (1921) for voice and piano. From 1902 to 1917." For Work-lists B-G this entry was expanded with sub-entries: "Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)" including "ANDANTE CON SPIRITO-'The Rainbow' -Flute, Basset, or English horn, strings, piano. 1914" [referring to S2] . AG: 1914. Publication: New York: Peer International,

Peer (1959)

1959 (score and parts for sale) [based on S2]. Premiere: First documented performance: Danbury, CT, II Apr 1969, by an unidentified ensemble at an all-Ives concert of chamber music presented in Berkshire Auditorium by Western Connecticut State College as part of its fourth annual Twentieth Century Arts Festival. (Program in the CIP: VII/Box 51/7.) First recording: The Boston Chamber Ensemble, cond. by Harold Farbennan, Oct 1962 (issued in 1963 by Cambridge, CRS-1804). First recording with voice: William Feuerstein (Bar), Columbia Chamber Ensemble, cond. by Gregg Smith, 17 Jan 1967 (issued in 1969 by Columbia Records, MS-7321 ). Derivation: Arr. as the song The Rainbow [#330]. Included, in a planned reorchestration, as mvt ii of Set No. 6: From the Side Hill [#015]; included as mvt iii of the projected Set of Three Pieces for Chamber Ensemble, No. I [#x673] and as no. 23 in his List: Music and Democracy [#x641]; intended for use as mvt ii (The Rainbow: In the Sky) of the projected A Symposium- Five Movements for Orchestra [#x659]. Borrowing: SERENITY . Literature: KirkC: IC33; AG: v35. Memos, 118n5, 157; Tunebook, 195. See also corre-

122

046 OTHER ORCHESTRAL WORKS

spondence with John J. Becker (CIP: IliA/Box 27/6, n.d. [4-5 Aug 1934]). BlockB: W33 , B3, B239, B267, B426, B550. Feder 1992,312, 315; Burkholder 1995, 287-89. Discography: Hall 1964/3, 92; Morgan 1974, 73; Cohn 1981 , 904; BlockB: Oil. Comment: John J. Becker must have fashioned the editing of The Rainbow that was then copied by Copyist 18 (see lves's letter to Becker in CIP : IIIA/27/6, "Sat.," n.d. [4-5 Aug 1934] : "Am sending under separate cover a couple of photos. of 3 short pieces old manuscript--one a song from which the ' Rainbow' p. 35 in Henry's Edition [of Thirty-Four Songs], was arranged from--of this can only find 12 measures (of the score-scetch [sic]) 9 [recte 7] measures lost. So any time you feel it convenient[,] piece it out in any way you think best.") Becker then made the changes in orchestration (avoiding lves' s use of org, adding va and pf). There is no further mention in the Becker- Ives correspondence of Becker working on any of the piece; the Copyist 18 score was probably made in 1935-36; lves began sending out photostated collections of "Cham-

46.

Skit for Danbury Fair

ber Music" in 1936, and The Rainbow was in vol. 2; Bernard Herrmann received copies in late 1936, writing to lves on 5 Nov 1936 to report on studying the Tone Roads (in vol. I) and the quarter-tone pieces (in vol. 3); surely he also received vol. 2. In a memo (f6098) inserted on a sheet betweenpp. 16and 17oflves'sCopyBof114 Songs: "In the ending of the original score [cf f2702 patch, not !2701], the organ, flute & most of the strings held the chord before the last, while 3 Y's (con sordini) & the (Celesta, top A#) took the last chord holding it, with voice, after the others have stopped; then the top violin stops. leaving the voice with the 2 lowerY's playing the triad, as a kind of a distant Amen.-this effect is difficult to get with piano-even with one of the [sustaining pedals]. The song may be ended with X measure before X last. omitting the final chord--or if played, this be scarcely audible as against chord before. " For lves' s dedication of this composition to his wife, see Date. (He apparently also dedicated to her, on her birthday, mvt iii [The Last Reader] of Set No. 2).

[inc.]

Medium: Ww, brass, dr, pf, str [as indicated on the MS] (see Comment) Duration: 55 mm. extant (Allegro)

Source: Score-sketch, inc., 3 pp. (!2428- 30). (see Comment) Date: Composed in 1902, according to Ives.

On !2428: "Labor Day Sep 1902." In Quality List 2: "'Danbury Fair' October, 1902." KirkC: before Sept 1902.

123

Publication: None. Premiere: West Redding, CT (on Ives's property), 17 Aug 1974, Paul Winter Consort (supplemented by musicians from the Yale Theater Orchestra), cond. by James Sinclair, in a realization by Kenneth Singleton in an all-Ives concert entitled "The Charles Ives Show." (Program in the CIP: VII/Box 52/3.) Derivation: F2428 material relates to Four Ragtime Dances [#043), no. 2 (mm. 1-19, 26-34); f2429 material relates to Four Ragtime Dances, no. 2 (mm. 47-48), followed by material of no. I (mm. 2~22, 7~74), with 4 mm. not closely attributable; f2430 relates to Four Ragtime Dances, no. I (mm. 86-88) but is even more closely related to that material's use in mvt ii of Set for Theatre Orchestra [#020) (mm. 113-17), with 4 mm. not closely attributable. Borrowing:

OTHER ORCHESTRAL WORKS

047

Literature: KirkC: ICI3 ; AG: -.Swafford 1996, 163-64. Comment: A memo on f2428: "Danbury Fair -Oct. 1902 for Tent Band"; another memo, on f2429: '"Skit'- Con'd- for Danbury Fair- (between Races) ... Labor Day Sep 1902." Memo on f2430: "Davey Allen beats up Keyes [Winter]- smiles, scolds smirks then over to Healey's." The layout and orchestration of the sources of the three pp. is significantly different: f2428 appears in 3-stave systems and cites (in order) cnt, cl, vn and pf, while f2429 is in 4-stave systems labeling vn I & 2, cnt, trb, dr set, and pf; f2430 appears in 6-stave systems for pf, vn I & 2, high ww, bn, brass (cnt, trb), dr set, low str. (F2430 appears on the verso off2429; it is possible that their material is unrelated to the "Skit" title even though lves's memo on f2429-probably done in retrospect-seems certain.)

BRINGING IN THE SHEAVES, HAPPY

DAY.

47.

Take-Off No.7: Mike Donlin-Johnny Evers

[inc.)

Other title(s): Giants vs. Cubs [see f2660]; Mike Donlin at the bat, A Grounder to Johnny Evers [see CIP: IliA/Box 33/6 letter draft re "Parody etc."]; Baseball Game[:) Mike Donlin and JonrUe Evers at the bat [seeMS Work-list 3]. Medium : Ww, brass, str (div.) [as indicated on MS] Duration: 9 mm. extant (Allegro)

Ww

Brass

Stt

MS(f2660)

048

OTHER ORCHESTRAL WORKS

Source: Sketch, inc. (mm. 1-9 only; p. 2lost), I p. (f2660). Date: Composed in 1907, according to Ives. At the top of the source: ":Jttly or Aug 1907." MS Work-list 3 has 1907. AG: summer 1907. Publication: Unpublished; registered as an unpublished work 9 Dec 1977 by Peer International Corp. Premiere: First documented performance (in a realization by Kenneth Singleton): West Redding, CT (on Ives's property), 17 Aug 1974, by the Paul Winter Consort (supplemented by musicians from the Yale Theater Orchestra), cond. by James Sinclair, in an all-lves concert entitled "The Charles lves Show." Also performed, apparently for the first time, was Take-Off No. 8: Willy Keeler at Bat. (Program in the CIP: VII/Box 52/3.) Borrowing: Ta-ra-ra Boom-de-ay!, When Johnny Comes Marching Home. Literature: KirkC: 1C29:vii; AG: v24:vii. Memos, 160n; Tunebook, 193. Bloclill: W29. Perlis 1974, 225 (John Kirkpatrick); Burkholder 1995, 347. Comment: This work and Take-Off No.8:

48.

124

Willy Keeler at Bat, listed as "TakeOffs" at the top of the sole surviving sketch page of Mike Don/in-Johnny Evers, are the only such works designated by number (other than TakeOff No.3: Rube Trying to Walk 2 to 3/l), and are probably the works oflves referred to as "Athletic" in his Work-lists reference to the take-offs. On an ink list of mvts for Set No. I (81, f2672) Mike Don/in-Johnny Evers is added in pencil as the seventh mvt. On the source Ives gives the title with the mistaken identification of Johnny Evers as "Jimmy Evers"; a memo at the top of the source p. reads '"Giants vs. Cubs' :Jttly or Aug 1907. NY Polo Grounds I (A) 1st Mike Jaunts out to C.F.-Johnny at Bat I (B) Mike [recte Johnny] at Bat hits over Mike's head!! Johnny comes marching (sliding) Home I Safe!" At the end of the extant source p. is a memo ''to [symbol] Sheet back p 8" indicating that a second p. is missing and that this piece was once complete; the extant source for Take-Off No. 8: Willy Keeler at Bat indicates that it continued from a now missing "page 8." Singleton's realization (used at the 17 Aug 1974 premiere) dovetailed together this inc. take-off into another inc. baseball Take-off No. 8: Willy Keeler at Bat [#048). Included in "Set oflncomplete Works and Fragments," ed. and arr. by James Sinclair and Kenneth Singleton (available for rent from Peer International).

Take-Off No. 8: Willy Keeler at Bat

Medium: Ww, brass, str (div.) [as indicated on MS] Duration: 9 mm. extant

[inc.)

125

Willy Swings Bat ~

OTHER ORCHESTRAL WORKS 049

[m.?] ..-'fl

:----....

tJ

Violins all take ;nl 2

~tone

Umpire- Trumpet

lower ...

of ~

tJ

Va, Vc

~·Ball

4 Whole-tone Down

===:1:::1

I

Strike :/. Violins do~'t start till umpire finishes

Coach-Bassoon

f'--'(

Source: Sketch, inc. (9 mm. extant; p. I lost), I p. (£0891). Date: Composed probably in Aug 1907; no date in source, but sketched out contemporaneously with Take-Off No. 7: Mike Don/inJohnny Evers. (The surviving page of TakeOff No. 7 also lists the title ofthis work.) AG: summer 1907. Publication: Unpublished; registered as an unpublished work 9 Dec 1977 by Peer International Corp. Premiere: First documented performance (in a realization by Kenneth Singleton): West Redding, CT (on lves's property), 17 Aug 1974, by the Paul Winter Consort (supplemented by musicians from the Yale Theater Orchestra), cond. by James Sinclair, in an all-lves concert entitled 'The Charles lves Show." Also performed, apparently for the first time, was Take-Off No. 7: Mike Don/in-Johnny Evers. (Program in the CIP: VII/Box 52/3.) Literature: KirkC: IC29:viii; AG: v24:viii.

49.

."fn~.rh

~

: "" Db

~"

•

~~I

; MS(f0891)

Memos, 160n. BlockB: W29. Comment: This work and Take-Off No. 7: Mike Don/in- Johnny Evers, listed as "Take Offs" at the top of the sole surviving sketch page of Mike Don/in-Johnny Evers, are the only such works designated by number (other than Take-Off No. 3: Rube Trying to Walk 2 to 3!!), and are probably the works oflves referred to as "Athletic" in his Work-lists reference to the take-offs. At the beginning of the extant source is a memo "'Willy Keeler at the Bat' continued from back page 8" indicating that this piece was once complete. On an ink list of mvts for Set No. 1 (S I, f2672), "Willy Keeler at the Bat" is added in pencil as the eighth mvt. Singleton's realization (used at the 17 Aug 1974 premiere) has this take-off dovetailed into after beginning with another inc. baseball Take-Off No. 7: Mike Don/in-Johnny Evers (#047]. Included in "Set oflncomplete Works and Fragments," ed. and arr. by James Sinclair and Kenneth Singleton (available for rent from Peer International).

Tone Roads et al.

Other title(s): Tone Roads to (the) Town Meeting [see CIP: IliA/Box 33/6 letter draft re "Parody etc.") Medium: Fl, cl, bn; tpt, tbn; ch, pf; str Duration : 6 min.

049

126

OTHER ORCHESTRAL WORKS

Movements: i. Tone Roads No. I (Allegro, 3 min., 42 mm.). Medium: Fl, cl, bn, str (see Comment). Fl

, ,.. Allegro

... Vn 1- 2

"

...

Va Vc

,3-,

FT.FF9

f Peer (1949), ed. Swift

ii. [Tone Roads No. 2] (Slow) [lost? (see Comment)]

iii. Tone Roads No.3 (Andante con moto- Allegro, 3 min., 48 mm. [designated A- L, 1- 36]). Medium: Fl, cl; tpt, tbn; ch, pf; str.

Andante con moto Chimes

r--3--,

l&o

,--3---,

fJ I J

r

~J Peer (1952)

Source: No. I I. Pencil sketch, inc. (mm. 1- 37 only), headed "I ' Tone Roads' Rough ones-good ones bad ones Fast ones Slow ones!," 2 pp. (12709- 10); pencil sketch toward mm. 33- 35 only, I p. (f3055). (see Comment) 2. Ink copy in full score by George F. Roberts, with several emendations by I ves, headed "Tone Roads No. 1," 10 pp. (12711 - 20); at end (12720) : "All roads lead to the Centre-in a race to the Town Meetin. " ' No. 2: No holographs or MS copies extant (but see Comment). No. 3 1. Pencil sketch, headed '"There are many ways, you know beside the Wabash' Rondo RAPID TRANSIT.", 2 pp. (12721 - 22); pencil sketch toward mm. 16-17 only, I p. (f3055). (see also Comment)

2. Pencil full score, inc. (mm. 7-8 and upper staves of 10-12 only), I p. (12723). 3. Photostat repro of lost ink copy in full score by Copyist 18, made under George F. Roberts's supervision, headed "Tone Roads No . 3," 15 pp. (12725- 39). ?Related fragments: (I) verso of a Wabash Rail Road bond refund form (dated 21 May 1942), a setting of superscription (4 mm. quoting Paul Dresser' s "On the Banks of the Wabash"): "There are many Roads you know beside the Wabash,- The B&O and Pennsilvania (E see T[wichell] I E. T. see!)" [a play on the initials of Edward Carrington Twichell), 1 p. (12724); (2) at the bottom of a pencil sketch (S I) for the song Pictures, a superscription to Tone Roads No. 1: "Over the rough & Rocky roads are ole Forefathers strode on their way to the steepled Village Church or to the farmers Harvest Home Fair or to the Town Meetings, where they got up

127

and said whatever they thought regardless of consequences!," 1 p. (f6710). Date: Assembled as a set possibly in 1915 from pieces composed 1911-15; no date in the sources. There is no specific listing in Worklist A, which contains a general entry only: "#21-Sets for Basset-Hom, Trumpet, Comet or English Hom Solos, with small Orchestras -some called 'Cartoons'; and 'Songs without Voices.' Ofthese some were arranged (1921) for voice and piano. From 1902 to 1917." Work-list B, under general entry "Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)," lists 3 works under the title "Tone Roads et al. (chamber orchestra)": "FAST 1911 I SLOW 1911-19191 SLOW & FAST 1915." KirkC: [set] assembled 1915?; AG: ?1915 (i: 1911; ii: 1911-19; iii: 1915). Publication: No. 1: New York: Peer International, 1949 (score and parts for sale). No.3: New York: Peer International, 1952 (score and parts for sale). Ives Society critical edn of both mvts in prep. Premiere: No. 1: First documented performance: San Francisco, 10 Aug 1950, Barati Chamber Orchestra, cond. by George Barati, venue unknown (see TLS, Wladimir Lakond to Ives, 25 Sept 1950, in CIP: IIIB/Box 35/13). No.3: First documented performance: New York City, 20 Dec 1963, Tone Roads Chamber Ensemble, cond. by James Tenney, in a concert of 20th-century American music at the New School Auditorium. Also performed was Tone Roads No. 1 and, apparently for the first time, Scherzo: Over the Pavements. (Concert announcement in CIP: VII/Box 51/4.) First recording: Extant mvts: The Boston Chamber Ensemble, cond. by Harold Farberman, Oct 1962 (issued in 1963 by Cambridge, CRS-1804). Derivation: A small part ofmvt i (mm. 3334) appears in Universe Symphony [#006],

OTHER ORCHESTRAL WORKS

049

misc. materials (S5). Ives included both extant mvts as no. 12 in his List: Music and Democracy [#x641]. Either mvt i or ii intended for use as mvt iii (Tone Roads: In the Wagon) of the unrealized A Symposium-Five Movements for Orchestra [#x659]. Borrowing: None, although, in a memo at top ofmvt iii sketch (S1, 12721) Ives seems to allude to On the Banks of the Wabash, Far Awtry and does so again on a possibly related fragment (12724). Literature: KirkC: 1C34; AG: v38. Memos, 61,63-64,71,120,139, 159;Tunebook, 196 (iii). BlockB: W35, B2-3, B87, B92, B123 (i), B140 (i, iii), B239 (i, iii), B267 (i), B307 (i, iii), B432 (i, iii), B598 (iii), B550 (i, iii), B575 (i), B576 (iii), B586 (i). Cowell 1955, 169 (iii), 171 (iii); Hitchcock/ Perlis 1977, 153 (i), 228 (i), 100 (iii), 153 (iii), 155 (iii), 228 (iii); Lambert 1991b, 135-38 (i); Swafford 1996, 221,236, 242; Lambert 1997b, 39-52 (i), 174--75 (iii); Feder 1997, 163-76. Discography: Hall1964/2, 104; Hall1964/3, 92; Morgan 1974, 73; Cohn 1981, 908; BlockB: Dll. Comment: Mvt i: On Quality List 9 Ives added in pencil "Fl, Clar, Bassoon, 3 Vs, 2 Violas, 2 Cellos, Bass." On S2 (12711) Ives added "[Bn] or Trombone." Mvt ii lost or only projected; not inconceivably, one ofthe realizations ofChromtitimel6dtune could serve as a replacement second mvt-it was composed in the same period and is similarly experimental). KirkC suggests that some material on f3055, unrelated to the known pieces represented (Tone Roads No. 1 and No. 3, and Scherzo: All the Wtry Around and Back), may be a vestige of Tone Roads No. 2. Porter suggests that material at the top offl844, c8 mm. of canonic counterpoint (with inversions), which Kirkpatrick assumed to be part of Universe Symphony, might be for this mvt (but it appears to be fast music rather than "slow").

050

128

OTHE R ORCHESTRAL WORKS

On Quality List 5 (p. 2) lves changed the entry "Tone Roads #2" to read "#3" (same change made on List 6b and 7). At the top of the sketch for mvt i (S I,

f2709) lves writes: "All Roads lead to Rome and to F. E. HartweU & Co . Gent's Furnishings."

so. The Unanswered Question Other title(s): Largo to Presto: The Unanswered Question (A Cosmic Landscape) [see Work-list C) ; "A Contemplation of a Serious Matter" or "The Unanswered Perennial Question" [see Central Park in the Dark (#034), S4 (f2597)] . (see also title as mvt v of Set for Orchestra: Tone Pictures of Some Bygone Days under Derivation) Medium : 4 f1 (or ob and cl for f13-4) , tpt (or ob/Eng lm/cl), str (str qt or 5-part str orch) (see Comment) Duration : 6 min., 60 mm. (Version 1), 61 mm. (Version 2) Version I :

Adagio

:!!:----~---~ -

.,..

=

~

I ppp con sord.

:

-

-

--

--

-I

n-----1-n ..--- ·n - t:- n--=::: -d

------- -------

I

J~

-

I Peer (1984)

Version 2: Largo molto sempre

Tpt r--3-----,

"

1br=r J~iT 1 F'F 1

~

" ~

~----:!!:----:!!: -

--

-

I

-

#.o....-......J -

--- --- ---

-

J~ -

..J

-

I

I

ppp con sord.

Str

:

"'

r--- 3-------,

.---1-

....._...... ....._......

F Peer(l984)

Source: First state (version I) I. Pencil sketch, headed "The unanswered

Q'r?," I p. (f2514). 2. Photostat repro ofSI on which Ives made pencil and ink emendations, I p. (f7790).

129

Second state (version 2) 3. Ink copy in full score by Copyist 18, made under George F. Roberts's supervision, 5 pp. (lost except for p. 5 [f2766]); photostat repro of all 5 pp., headed "The Unanswered Question For Flute Quartet, Trumpet and String Quartet (or String Orchestra)" (f2756--{;0); typescript note to performers as a postface, 1 p. (f2761) and same, with Ives memo above (f2768). 4. Negative plates ofS3 photostat repro, with emendations [by George F. Roberts?] in white ink, 5 pp. (t7989-93).

Date: Composed cl906, according to an address; no date in the sources. An annotation at the bottom ofSl (f2514) indicates Ives's office from c1905 to 31 Dec 1906: "return to ChasE Ives c/o Charles H. Raymond & Co 26 Liberty St NY." Work-list B, under "Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.)," lists: "LARGO TO PRESTO--'The Unanswered Question'-Trumpet, 4 flutes or 4 treble woodwind, string quartet or string orchestra[.] Some time before June 1908." Revisions for Version 2 are probably cl930-35. KirkC: MS: before 1907, say summer 1906; AG: 1906. Publication: 1. Montevideo: Boletin Latino-Americano de Musica, 5/5, October 1941 (under the title La Pregunta Incontestada); unauthorized. Version2. 2. New York: Southern Music Publishing, 1953 (score and parts for sale). Copyright assigned 1977 to Peer International. Version 2. 3. New York: Peer International, 1984/1985 (score for sale, parts for rent); I ves Society critical edn by Paul Echols and Noel Zahler. Versions 1 and 2. Premiere: Version 2: New York City, 11 May 1946, by a chmbr orch of students from the Juilliard Graduate School, on-stage cond. Edgar Schenkman, off-stage asst. cond. Theodore Bloomfield, in an all-Ives concert at McMillin

OTHER ORCHESTRAL WORKS

050

Theatre, Columbia University, given as part of the Second Annual Festival of Contemporary American Music. Also premiered in the same concert were Central Park in the Dark and String Quartet No. 2. (Program, listing only Central Park in the Dark and The Unanswered Question as "first performances," and with notes on Ives by Elliott Carter, in CIP: VII/Box 50/7.) Reviewed by Olin Downes, NY Times (12 May 1946), Robert A. Hague, PM (14 May 1946), p. 16; Miles Kastendieck, Brooklyn Eagle ( 12 May 1946); Paul Henry Lang, Saturday Review (1 June 1946), p. 43; Edward O'Gorman, NY Post (13 May 1946); Francis D. Perkins, NY Herald Tribune (13 May 1946). Version 1: New York City, 17 Mar 1984, American Composers Orchestra, cond. by Dennis Russell Davies, in the "Wall-to-Wall Ives" series at Symphony Space.

First recording: Version 2: The Polymusic Chamber Orchestra, cond. by Will Lorin (under the name "Vladimir Cherniavsky") and Dr. Joseph Barone, summer 1951 (issued in 1951 by Polymusic Records, PRLP-1 001 ). Version 1: Chicago Symphony Orchestra, cond. by Michael Tilson Thomas, 1986 (issued in 1988 by CBS Records, MK 42381 ). Derivation: Included as mvt iii of the Set No. 9 ofThree Pieces [#018] (for which S3 above was copied c1934). Intended for use as mvt v (The Question of Existence-A Cosmic Landscape) ofthe projected Set for Orchestra: Tone Pictures of Some Bygone Days [#x650] and for use as mvt iv (The Unanswered Question: In Contemplation) of the projected A Symposium-Five Movements for Orchestra [#x659]. Ives paired this work, with Central Park in the Dark, as mvt i of Two Contemplations [#x638] (see f2597). Literature: KirkC: 1C25; AG: v23i. Memos, 61, 157n, 159. See also correspondence with Elliott Carter (CIP: IliA/Box 27/11, 14 Mar 1946-9 Apr 1946 [repr. in Carter 1975, pp. 312-14]), Henry Cowell (CIP: IliA/Box 28/8, 16 July 1951), George F. Roberts (CIP: IliA/ Box 31/8, n.d. [17 May 1946]), Charles

051

OTHER ORCHESTRAL WORKS

Seeger (CIP: IliA/Box 31/18, 19 Oct 1940-31 May 1943), New Music (CIP: IIIB/Box 35/8, 25 June 1946--30 July 1947), and Southern Music (IIIB/Box 35113 , 19 Feb 1951 and 8 May 1953). Block.B : W28:1, B55, B107, B112, B119, B123, B140, B149, B160, B192, B239-40, B252, B278- 79, B291, B295, B303 , B307, B310, B424, B431-32, B547-48, B568 (review pub!. in Burkholder 1996, 340-42), B569-73, B582. Cowell1955, 176-77; Perlis 1974,144 (Elliott Carter); Rossiter 1975, 107, 303-04; Hitchcock!Perlis 1977, 48, 50, 53, 59-{)1, 248, 253; Gingerich 1986, 84-85 ; Solomon 1987, 460; Hitchcock/Zahler 1988; Rathert 1989 [MQ], 577- 79; Shirley 1989,passim; Baron

51.

Yale-Princeton Football Game

130

1990, 26--29; Nicholls 1990, 57--QO; Feder 1992, 191 , 192, 196, 208, 302; Swafford 1996, 152, 180-81, 184, 238, 350, 461n49. Discography: Hall1964/2, 102; Warren 1972: 513- 20; Morgan 1974, 73; Cohn 1981 , 908; Oja 1982: 5521 - 23 ; Block.B: Dl, D12, D27. Comment: In Work-list C, Ives emended the title to include the subtitle "(a Cosmic Landscape)" and crossed out "string quartet" in the list of instruments, emending the orchestration to read "Trumpet, 4 flutes or treble woodwind, and string orchestra. " On Quality List 9 Ives added in pencil: "can be S.Q., 2 pianos, trumpet."

[inc.?]

Subtitle: Two Halves in Two Minutes [see Comment) Other title(s) Title: Yale-Princeton Football Game in Tones [see f2203) Medium: Original version: 2(picc)-2-2-2-cbn; 4-3-3-1 ; timp, perc (sn dr, b dr, cym); str. Sinclair realization: same as original. Schuller realization: 4(picc)-4(Eng hn)-3-4; bar sax; 4-4-3-1 ; timp, perc (sn dr, b dr, cym), glock, pf; str Duration : 2 min. , 74 mm. [in Sinclair realization] ; 3 min. , 87 mm. [in Schuller realization] (Allegro) Allegro Vn 1- 2

Va

Vc

Db (8ba)

Associated (1973). ed. Sinclair

Source: I. Pencil score-sketch [complete?), headed "1st sec. strings" and "Sketch ofY-P Football

Game in Tones", 5 pp. (f2203-07). 2. Ink memo with melodies and words of tunes. and football cheers used in the work [written

131

c1934-36, for Henry Cowell?], headed "Songs & cheers, etc in Y. P. Football Game as in key & oct. starting in score," 2 pp. (12208--09). Date: Sketched in the orch version c1898-99, although undoubtedly first improvised at Yale as a "piano stunt" cNov-Dec 1897); probably revised c1914-19. MS Work-list 3 has 18981900. Though not mentioning this work by title in his typed work-lists, Ives must have considered it one of the "athletic" Cartoons or Take-Offs which he dates "from about 1896 to 1916" (in Work-list A) and "1898-1907" (in Work-lists B-G). In a work-list that the Cowells credit to Ives, cited in Cowell (1955 edn only), this work is list and dated "August 1907." In both Memos (p. 40) and an annotation in S1 (12203), lves recalls completing the work and sending an ink copy (now lost) to Huntington Mason in Chicago in 1899 (see Comment). KirkC: [in pencil:] 1897 at Yale; AG: ?1898. Publication: 1. New York: Associated Music Publishers, 1978 (rental score and parts); realization by Gunther Schuller. 2. New York: Associated Music Publishers, 1992 (rental score and parts); realization by James B. Sinclair. Premiere: Schuller realization: New York City, 29 Nov 1970 (repeated 1 Dec), American Symphony Orchestra, cond. by Gunther Schuller, in a concert at Carnegie Hall, also incl. the first performance of Schuller's realization of The General Slocum. (Program, listing both works as ''reconstructed by Gunther Schuller/ world premiere," in CIP: VII/Box 5118.) Reviewed by Theodore Strongin, NY Times (30 Nov 1970), p. 54. Sinclair realization: New Haven, CT, 2 Oct 1976, Yale Symphony Orchestra, cond. by C. William Harwood, at a "[Yale] Parents' Day" concert at Woolsey Hall. First recording: Sinclair edn: Orchestra New England, cond. by James Sinclair, 17 May 1990 (issued in 1990 by Koch International, KIC-7025).

OTHER ORCHESTRAL WORKS 051

Derivation: Possibly based on the pf A Full Game at The Spot [#x681] (see Comment). The background/crowd sounds (strings) also appear in the sketches for mvt ii of Orchestral Set No. 3 [#009]. In Ives's listing ofmvts for the chmbr orch Set No. 1 (S 1, 12674) [#01 0], Yale-Princeton Football Game is entered in ink as no. "6\12." Possibly also once listed as a mvt ("Athletic") of Set of Cartoons and TakeOffs [#x651]. Intended for use as mvt iii (A Yale-Princeton Football Game) ofthe projected Set for Orchestra: Tone Pictures of Some Bygone Days [#x650]. Borrowing: Brekeke-kek, leo-ax, leo-ax, Bright

College Years, Three Cheers for Old Nassau, Harvard has Blue Stocking Girls, Hold the Fort, Hy-Can Nuck A No, Old Nassau, Yale's Short Cheer (9 "Rah"/3 "Yale"); David Wallis Reeves, Second Regiment Connecticut National Guard March. Literature: KirkC: 1B3;AG: v10. Memos, 40, 60, 61, 160n; Tunebook, 190. See also correspondence with Nicolas Slonimsky (CIP: IliA/Box 32/3, n.d. [May 1933]), Julian Mason (CIP: IliA/Box 30/17, n.d. [June 1933]-5 July 1933), the Fleisher Collection (CIP: IIIB/ Box 34/8, 25 Mar 1942). BlockB: W12. Rossiter 1975, 67-68, 82; Hitchcock/Perlis 1977, 13;Feder 1992,170, 172; Burkholder 1995, 342-43; Swafford 1996, 128, 228. Comment: Subtitled in S I, bottom of p. 1 (12203): "A 'Take Off of2 Halves in 2 minutes." Quality List 2 has the title as "YalePrinceton Game (Two Halves in Two Minutes)." The piece probably developed from a piano "stunt" and is based on the YalePrinceton match up of20 Nov 1897 in New Haven (see comment below on A Full Game at The Spot). Numerous marginal annotations serve as a programmatic guide to the action of the game. Ives recalls beginning the work while at Yale and playing it on the pf for his classmate Huntington Mason. In 1932, after rediscovering pp. ofS1 among his papers, he wrote a letter (June 1933) to Huntington Mason's surviving brother, Julian, explaining the

132

052 RAND

origins of the work and asking if the score had been preserved (it was never found ; see Memos, p. 40). S3, written in lves's shaky handwriting of the mid 1930s, contains a note at the foot of p. [ 1], "Henry! see over for ' Cheers'," undoubtedly intended for Henry Cowell. The title as here appears on S I (12203) and S3 (12208) and in Memos, p. 60. In Memos, pp. 40 and 61 , the title is given as "A Yale-

Princeton Football Game", but, since the takeoff is on a specific game, the article "A" is not used here. It is possible that lves's reference in Memos (p. 61) to a pftake-off"A Full Game at the Spot" could be simply a subtitle or additional title for Yale-Princeton Football Game or it may refer to an early pfversion of this work (which would have been appropriate entertainment at a student hang-out such as "The Spot").

II: WORKS FOR BAND 52.

Fantasia on "Jerusalem the Golden"

Other title(s): Paraphrase on "Jerusalem the Golden" [seeMS Work-list 2]; Variations on "Jerusalem the Golden" [KirkC, p. 105]. Medium: Original version: Not indicated on the source. Brion edn. : Modem concert band with separate ens of"old fashioned [brass] instruments (or modem brass sextet or quintet)." Duration : 3:30 min., 78 mm. [in Brion arr.] ([no tempo heading in MS])

MS (f501 8)

Source: Ink sketch copied by George lves, in 2-stave systems, 5 pp. (50 18- 22). Date: Composed before perhaps 1888 or '89 (see Comment). KirkC: 1889?; AG: ?1888. Publication: New York: Associated Music Publishers, 1974; arr. by Keith Brion for modern concert band (published under the title Variations on "Jerusalem the Golden "). Premiere: First modern performance: West Caldwell, NJ, 5 February 1972, James Caldwell High School Band, cond. by Keith Brion, in the arr. by Keith Brion. Borrowing:

EWING.

Literature: KirkC: ID4, 3D3; AG: xi. Memos, 148; Tunebook, 203 . BlockB: W85, W85a, BI56, B284, B735, 8737. Feder 1992, 112, 113-14; Burkholder 1995, 38--41; Swafford 1996, 182, 350. Comment: The only direct reference to this work is in lves's MS Work-list 2 (under the "Brass Band" heading): "Fantasia (or Paraphrase) on Jerusalem the Golden (before leaving Stevens St. Danbury[?], 1888)" [the lves family moved from Stevens St. to I 0 Chapel Place on 9 May 1889]. lves probably refers to this work (without identifYing himself as the composer) in his "Conductor's Note" to mvt ii of Symphony No. 4 (New Music, vol. 2/2, Jan 1929).

132

052 RAND

origins of the work and asking if the score had been preserved (it was never found ; see Memos, p. 40). S3, written in lves's shaky handwriting of the mid 1930s, contains a note at the foot of p. [ 1], "Henry! see over for ' Cheers'," undoubtedly intended for Henry Cowell. The title as here appears on S I (12203) and S3 (12208) and in Memos, p. 60. In Memos, pp. 40 and 61 , the title is given as "A Yale-

Princeton Football Game", but, since the takeoff is on a specific game, the article "A" is not used here. It is possible that lves's reference in Memos (p. 61) to a pftake-off"A Full Game at the Spot" could be simply a subtitle or additional title for Yale-Princeton Football Game or it may refer to an early pfversion of this work (which would have been appropriate entertainment at a student hang-out such as "The Spot").

II: WORKS FOR BAND 52.

Fantasia on "Jerusalem the Golden"

Other title(s): Paraphrase on "Jerusalem the Golden" [seeMS Work-list 2]; Variations on "Jerusalem the Golden" [KirkC, p. 105]. Medium: Original version: Not indicated on the source. Brion edn. : Modem concert band with separate ens of"old fashioned [brass] instruments (or modem brass sextet or quintet)." Duration : 3:30 min., 78 mm. [in Brion arr.] ([no tempo heading in MS])

MS (f501 8)

Source: Ink sketch copied by George lves, in 2-stave systems, 5 pp. (50 18- 22). Date: Composed before perhaps 1888 or '89 (see Comment). KirkC: 1889?; AG: ?1888. Publication: New York: Associated Music Publishers, 1974; arr. by Keith Brion for modern concert band (published under the title Variations on "Jerusalem the Golden "). Premiere: First modern performance: West Caldwell, NJ, 5 February 1972, James Caldwell High School Band, cond. by Keith Brion, in the arr. by Keith Brion. Borrowing:

EWING.

Literature: KirkC: ID4, 3D3; AG: xi. Memos, 148; Tunebook, 203 . BlockB: W85, W85a, BI56, B284, B735, 8737. Feder 1992, 112, 113-14; Burkholder 1995, 38--41; Swafford 1996, 182, 350. Comment: The only direct reference to this work is in lves's MS Work-list 2 (under the "Brass Band" heading): "Fantasia (or Paraphrase) on Jerusalem the Golden (before leaving Stevens St. Danbury[?], 1888)" [the lves family moved from Stevens St. to I 0 Chapel Place on 9 May 1889]. lves probably refers to this work (without identifYing himself as the composer) in his "Conductor's Note" to mvt ii of Symphony No. 4 (New Music, vol. 2/2, Jan 1929).

133

The source lacks any orchestrational markings or title but appears not to be written for orgas assumed in KirkC (p. 105). In the surviving source, essentially a short-score, the

53.

BAND 053

music is only awkwardly approachable on the org but it is conceivable that lves would have worked on the composition at the org keyboard.

March in F and C, with "Omega Lambda Chi"

Other title(s): March "Omega Lambda Chi" [see Publication]; March No. 3 for Band. Medium: Original version: D ' Pice, 2 cl; solo E ' alto [hn], 3 E ' alto [hn), solo B '!E' cnt, 3 B ' cnt, 2 tbn, bar (div.), E ' bass (tuba] ; dr (sn dr, b dr, cym). Brion edn: Modern concert band or original instr. Duration : 3 min., 93 mrn. ([no tempo heading])

Assoc ialed ( 1974)

Source: I. Fragmentary sketches, I p. (f2824). 2. Full score (lacking t.p.), with emendations in red ink, 16 pp. (f2825-40). 3. Five ink parts (all that are extant) differing slightly from full score, each on I p.: c12, copied by lves (f2841); cl2, copied by Copyist 3 (f2842); E' alto (hn) 2 and 3 together, copied by Copyist 3 (t2843); E ' bass [tuba], copied by lves (t2844); drums, copied by Copyist 3 (t2845).

Keith Brion for modern concert band, with reference to I ves ' s original instr (published under the title "March: Omega Lambda Chi"). Premiere: First modern performance: West Caldwell, NJ, 13 July 1965, North Jersey Wind Symphony, cond. by Keith Brion. First recording: The Incredible Columbia All-Star Band, cond. by Gunther Schuller, 15 and 17 Feb 1975 (issued in 1975 by Columbia Records, M-33513).

Date: Arranged in 1896, according to lves, from music composed possibly in 1892 (more likely 1895-96). At the end ofS2 (f2839): "C Elves, 76 South M(iddle] Jan 4 (18)96." KirkC: arr. 1896 [added in pencil:] ('97?); AG : 1896.

Borrowing: Omega Lambda Chi (itself a parody of Sailing, Sailing?).

Publication: New York: Associated Music, 1974 (score and parts for sale); ed. and arr. by

Literature: KirkC: I 06; AG: v7. Memos, 39-40, 130, 149, 153, 183 (general refer-

Derivation: Arranged from March No. 3 for Piano, with "Omega Lambda Chi" (#Ill].

054

BAND

ences); Tunebook, 189. BlockB: W39, B553. Elkus 1974, 15, 17, 22, 2(r..27; Burkholder 1995, 221-22. Discography: Cohn 1981, 910; Oja 1982: 5376, 5377; BlockB: D4, D8. Comment: The borrowed tune is associated with a late 19th-century Yale event tradition, "the Omega Lambda Chi, which commemorated the freshman societies abolished by the faculty in 1880. On this occasion sophomores, juniors, and seniors marched by classes around the college cheering the buildings. Then they went to the narrow space between Dwight and

54.

134

Alumni Halls and, in what came to be known as the Pass ofTherrnopylae, the freshmen ran the gauntlet between the massed upperclassmen. With luck, the new men emerged not too badly bruised. In 1899 [24 May] the Yale Alumni Weekly reported, 'The whole proceeding was business-like and orderly and in half an hour the campus had assumed its ordinary aspect.' But the following year the faculty banned the rough ceremony." [Brooks Mather Kelley, Yale: A History (New Haven: Yale University Press, 1974), p. 307] lves would have arranged his march for use in the May 1896 event, toward the close of his sophomore year.

March "Intercollegiate," with "Annie Lisle"

Otber title(s): March (Two-Step)- "Tnter-Collegiate" [see 83]; March No. 5 for Band [see KirkC, p. 55] . Medium: Original version: D' Pice, E' cl, 2 B ' cl, t sax; 3 E' alto [hn], E ' cnt, solo B ' cnt, 3 B ' cnt, 2 tbn, b tbn, bar, basses [tubas]; dr (sn dr, b dr, cym) [according to 83] Duration : 4 min., I 03 mm. [in Brion edn] ([no tempo heading]) Tutti

Helicon Music (1973)

Source: I. Full score in C and A', lacking cover and title, 12 pp. (f279(r..2807). 2. Full score in F and D ', inc. (pp. 3-10 only), 8 pp. (f2808-15). 3. Photostat repro of 16 printed parts, revised vers. inC and A ' (f28J(r..23); solo cnt part [f2818] contains the notice: "Copyright 1896 by C. E. Ives"; no other information regarding the place and date of publication is given (Ives's Work-lists identifY the publisher as Pepper & Co., Philadelphia). Date: Composed or arranged 1892 according

to memo at the top ofSI (f2796): "for Danbury Band (played at Danbury Fair Grounds by Danbury Band Oct. 1892." MS Work-list 2: "Intercollegiate March, 1895, New Haven Band and Washington Marine Band, McKinley Inauguration 1897-Published by Pepper & Co., Philadelphia, Pa." Work-list A: "March 'Intercollegiate,' for full Military Band[;] Pub, Pepper & Co. Philadelphia, Pa. 1896"; Lists B-E give date as 1895; List G gives two dates: "March- 'Intercollegiate' for full military band[;] published 1896 by Pepper & Co., New York City[.]1895"; no mention in List H. KirkC: before Oct 1892; AG: 1892.

135

Publication: l. see S3. 2. Hackensack, NJ: Helicon Music, 1973; ed. and arr. from S3 for modem concert band by Keith Brion, with reference to Ives's original instr (score and parts for sale). Premiere: According to a memo at the top of S1 (f2796) this work was "played at Danbury Fair Grounds by Danbury Band, Oct. 1892." First documented performance: Washington, D.C., 4 Mar 1897, the combined New Haven Band and Washington Marine Band, as part of the activities of the presidential inauguration of William McKinley. First modem performance: West Caldwell, NJ, 25 Mar 1965, James Caldwell High School Band, cond. by Keith Brion. First recording: Cornell Wind Ensemble, cond. by Marice Stith, 9 Mar 1969 (issued in 1971 by Cornell Wind Ensemble, C.U.W.E. 2). Derivation: Arranged from March No. 5 for Piano, with "Annie Lisle" [#112]. Borrowing: Annie Lisle. Literature: KirkC 1D5; AG: v4. Memos, 3940, 130, 148, 149, 153, 154, 183; Tunebook, 189. See also correspondence with the American Music Center (CIP: IIIB/Box 34/2, n.d. [reply to 3 Aug 1944?]). BlockB: W8, W38, W38a-b, B553, B5c, B579. Cowell1955, 105; Elkus 1974, 15, 17, 20, 22, 26; Rossiter 1975, 65; Feder 1992, 156; Burkholder 1995, 220, 222; Swafford 1996, 124.

55.

Runaway Horse on Main Street

BAND

055

Discography: Cohn 1981, 909; Morgan 1974, 73; BlockB: DS-9. Comment: An early copyright, possibly for this work, is the registration of a "College March" following publication 18 June 1915 in the name of"Chas. Ives, jr." [sic in entry]. In Memos (p. 148nl4) Kirkpatrick states: "The name here copied as 'Pepper' (from the later lists) looks more like 'Peter'---Gopsill's Philadelphia Business Directory for 1897 does list James W. Pepper (Music Store, also Publisher) at 234 S. 8th, but no Peter nor any similar name in that trade. The Ives Papers has negative photostats of a set of 16 parts (S3) that was lent by the late Julius Mattfeld from the library of the Columbia Broadcasting System in 1957, but it lacks any title page or cover. On the solo comet part is printed: 'Copyright 1896 by C.E. Ives'- with no mention of Pepper & Co." Possibly Pepper ofPhiladelphia merely acted as a printer. No score for this work seems to have been printed in 1896; apparently the Solo Comet part was expected to suffice. In a draft for a letter in answer to an apparently now lost letter from Helen Dower of the American Music Center (n.d. [c1944?]) Ives refers to this march: " ... in 1895 a march ["Intercollegiate"] for Brass Band Mr. Ives now remembers was published by Pepper & Co. of Phila. This was recently played over the Columbia Radio." (This broadcast performance is otherwise undocumented.) In the "Chronological List of Compositions" ofCowell1955 (but not in the 1969 second edn), the Cowells indicate that "the composer has listed the piece as 'no good."')

[mostly lost]

Medium: Pic, E' cl, B' cll(div.) & 2; alto hn, E' cnt, 2 B' cnt, 3 trb, bar, bass hn [tuba]; perc (sn dr, tom-torn, b dr, cym), glock, xyl (opt. pf) Duration: 16 mm. extant [I min., 52 mm. in Sinclair realization]

056 BAND

136

Pice

C nt

A. Hn I

Thn

BruTuba

MS(f2846)

Source: Pencil full score, inc. (pp. 7- 8 [mm. 31-46 of Sinclair realization]), 2 pp. (f284647).

Horse on Main Street [#340] (also inc.), a portion of which was later adapted in the song Charlie Rut/age [#226] . (see Comment)

Date: Composed cl905 . KirkC: about 1905?; AG: ?cl905.

Literature: KirkC: 1D9; AG: vl9. BlockB: W40.

Publication : Realization by James B. Sinclair available from Associated Music Publishers.

Comment: Sinclair's realization prefaces the extant material with his arr. of material from the song version and uses part of the climax of the song Charlie Rut/age to bring the work to a close. Ives's original band work was possibly one of the take-offs (perhaps "urban") intended for an early version of the Set of Cartoons or Take-Offs.

Premiere: New Haven, CT, 18 Nov 1977, Yale University Band, cond. by Keith Brion, at Woolsey Hall, in the realization by James B. Sinclair. Derivation: Adapted for the song Runaway

56.

Schoolboy March in D and F, Op. 1

Medium: "band" [see f2795) Duration: 9 mm. of melodic incipit extant

[mostly lost]

137

STRING QUARTETS

057

MS (12795)

Source: Fragmentary sketch of a melodic line, 9 mm. in 6/8 (probably for this work) on t.p. (f2795). Date: Arranged in Sept 1886 (according to f2795). Derivation: Probably adapted from a lost pf version. May have developed into chmbr orch Holiday Quickstep (#028] and/or lost band Holiday March [#x662]. Literature: KirkC: 1D I; AG: - . Elk us 1974, 18;Feder 1992,95,96.

Comment: Jves's title (f2795): "SCHOOLBOY MARCH D-F. OP. I. ARR. BAND. SEPT. 1886. C. IVES." Both title and musical fragment are written on slips of paper, apparently from the same note pad. The MS fragment was found in a buckram cover used as a folder which included a sheet with a memo: "none of these any good I just kept for curiosity." There is no evidence of the earlier work (perhaps for pf) from which this might have been arr. for band, as implied in the title. The incipit represents the complete music given on the source.

Ill: WORKS FOR CHAMBER ENSEMBLE

A: STRING QUARTETS 57.

String Quartet No. 1: From the Salvation Army

Subtitle: "A Revival Service" Medium : Vn 1-2, va, vc Duration: 22 min. (21-24 min.) Movements:

i. Chorale (Andante con moto; 5:30 min., 115 mm.)

Andante con moto 12

'II

~~~~

r rr

oJ

Vc

1 ·· 1 I

(mf) ~

Va

"'.(

: I

-

-

mf ~~~

I

I

d .J. .J. '--'

I

I

I

r rr

J ~J.J. I I

r

I

I

t

I

r

~d J.

..J.

I

I

Peer (1963)

137

STRING QUARTETS

057

MS (12795)

Source: Fragmentary sketch of a melodic line, 9 mm. in 6/8 (probably for this work) on t.p. (f2795). Date: Arranged in Sept 1886 (according to f2795). Derivation: Probably adapted from a lost pf version. May have developed into chmbr orch Holiday Quickstep (#028] and/or lost band Holiday March [#x662]. Literature: KirkC: 1D I; AG: - . Elk us 1974, 18;Feder 1992,95,96.

Comment: Jves's title (f2795): "SCHOOLBOY MARCH D-F. OP. I. ARR. BAND. SEPT. 1886. C. IVES." Both title and musical fragment are written on slips of paper, apparently from the same note pad. The MS fragment was found in a buckram cover used as a folder which included a sheet with a memo: "none of these any good I just kept for curiosity." There is no evidence of the earlier work (perhaps for pf) from which this might have been arr. for band, as implied in the title. The incipit represents the complete music given on the source.

Ill: WORKS FOR CHAMBER ENSEMBLE

A: STRING QUARTETS 57.

String Quartet No. 1: From the Salvation Army

Subtitle: "A Revival Service" Medium : Vn 1-2, va, vc Duration: 22 min. (21-24 min.) Movements:

i. Chorale (Andante con moto; 5:30 min., 115 mm.)

Andante con moto 12

'II

~~~~

r rr

oJ

Vc

1 ·· 1 I

(mf) ~

Va

"'.(

: I

-

-

mf ~~~

I

I

d .J. .J. '--'

I

I

I

r rr

J ~J.J. I I

r

I

I

t

I

r

~d J.

..J.

I

I

Peer (1963)

057

138

STRING QUARTETS

ii. Prelude (Allegro; 5:30 min., 190 mm.)

Peer (1963)

iii. Offertory (Adagio cantabile; 5:30 min., 97 mm.) Adagio cantabile

Peer (1963)

iv. Postlude (Allegro marziale; 5 min., 176 mm. [counting by vc in mm. 147- 55]) Allegro marziale

>

.J. Ya Yc

f

Source: i. Chorale I. Pencil sketch, inc., 3 pp. (f285(}-52). 2. Ink score, inc. (mm. (}-48 only): t.p. "Qt. #I Andante m'dt" (f2853); 3 pp., headed "Quartet #I C major I [mvt) #I. Andante moderato" (t2854-56).

ii. Prelude I. Pencil sketch, inc. (lacking mm. 136-161), 4 pp. (f2857-60). 2. Ink score, inc. (mm. 1-6 tom oft): t.p. "#2 mvt String Quartet no. I Allegro" (t2861);

Peer ( 1963)

8 pp. (f2862-69). 3. Ink copy by Copyist 9, headed "II," II pp. (t7934-44); photostat repro with annotation by Ives on p. I (t287(}-80). 4. Keyboard arr., ink copy by Copyist 9, with emendations by Ives, headed "II" and above in lves's hand "S. Quart. #I A Revival arranged for I piano & copied by Tarns & Co!," 9 pp. (f2881 - 89). iii. Offertory I. Fragmentary pencil sketches, 4 pp. (t289(}93); rej. patch on separate p. (t2859).

139

2. Ink score, inc. (nun. 37-48 and 61-72 tom oft): t.p. "Qt s[core?] #3 Adagio" (f2894); 4 pp. (f2895-98); blank p. at end except for annotation "from lst string quartet C.E Ives" (f2899). 3. Ink copy by Copyist 9, headed "III," 6 pp. (f7945-50); photostat repro with annotations and one emendation by Ives (f2900--05). 4. Keyboard arr., ink copy by Copyist 9, with emendations by Ives, headed "III [changed to "II"] Prelude Org & St Q Center Ch.," 6 pp. (f2906-ll). iv. Postlude l. Pencil sketch, inc. (nun. 79-95, 157-65 cut oft), 7 pp. (f2852, 2912-17). 2. Ink score: t.p. "Q[uartet] s[core?] I IV allegro 14 (from Organ & Violins I [organ]= LH Viola & Cello. I played at Center Ch. at a (mild) 'Revival' Service--Oct 2 1896" (f2918); 9 pp., first halfofm 1 tom off

STRJNG QUARTETS 057

(f2919-27). 3. Photostat repro of ink copy by Copyist 9, headed "IV" (changed to "III"), 12 pp. (f2928-39). 4. Keyboard arr., ink copy by Copyist 9, with emendations by Ives, headed "IV" (changed to "III"), 10 pp. (f2940-49). Complete work Photostat repro oft.p. or cover for complete work (f2848, 2849); there are several stages of additions on the t.p.-the original text is shown here in roman; words added later (f2849) are shown here in italic: "8rgr:m Quartett for 2 Vio's 1 Viola Cello I (for Strings I &-organ (ad lib) I 'From the Salvation Army' I Not Quite I & the old green I Anthem Book I Choral Pre. Collection, Postlude I (for Revival Service.) I C[enter] Ch[urch] I New Haven I Ct I May 1896." Below that (seen only on f2848) is this somewhat cryptic memo (added after f2849):

"Chorale I> Fugue for Parker (1897-9[8]) { 1898} 1st movement for Symphony 1900 from 3rd & 4th = Organ Pieces 1896 Prelude played as { Offertory copied 1904 (Preludes & Postludes Post (as is) CenCh 1896 NH Choral Service"

Date: Composed in 1898-1902, based on pieces for organ from 1896--98. Annotations on the individual mvts refer to the source pieces: mvt iii (S3, f2900) "(from Organ Prelude) played Feb. 1898"; mvt iv (S2, f2927) "Prelude Postlude, for a 'Revival' Gospel Services I Center Ch N.H. Oct. 1896." Work-list A: "For a 'Revival Service' -Prelude, Offertory and Postlude - String Quartet 20 min. Manuscript[.] 1896." AG: May 1896. Publication: New York: Peer International, 1961 and 1963 (score and parts for sale);

based on Copyist 9 score.

Premiere: Mvts ii-iv: New York City, 17 Mar 1943, Columbia Concert Orchestra, cond. by Bernard Herrmann, broadcast over WABC and NET. (The listing [in CIP: VII/Box 50/7] has

"String Quartet #1 in G, Arranged for String Orchestra" but, given it follows, within the half-hour format [3:30-4:00 P.M.], a performance of mvts i and iii of Symphony No. 4, this only could have been, at most, of the latter three mvts of the quartet.) First documented performance of complete work: New York City, 24 Apr 1957, Kohon String Quartet (Harold Kohon [vn l ], Raymond Kunicki [vn 2], Paul Bellarn [va], Richard Kay [vc]), in a concert at the Museum of Modem Art. Reviewed by Harold Schonberg, NY Times (25 Apr 1957), p. 35; Lester Trimble, NY Herald Tribune (25 Apr 1957), p. 18. (Program not located in the CIP.) In a letter from Julius Mattfeld to John Kirkpatrick (in Kirkpatrick Papers, dated 2 May 1960) replying to Kirkpatrick's queries, Mattfeld claims: "The String Quartet no. 1, in

057 STRING QUARTETS

G major, was performed on Mar. 8, 1938, by the Roth Quartet (who sneered at the naive New England psalm tunes) ..." First recording: The Kohon Quartet ofNew York University, 1963 (issued 1964 by Vox, STDL-501120). Derivation: Mvt i: Adapted from the lost Fugue for Organ [#x688]; reworked as mvt iii (originally the second) of Symphony No. 4 [#004]. Mvt ii: Probably derives from an unidentified org prelude. Mvt iii: Reworked or arr. from the lost org Prelude[/] [#x697]. Mvt iv: Derives from the lost org Postlude [/} [#x693]. Borrowing: Mvt i: CORONATION, MISSIONARY HYMN; J. S. Bach: Toccata and Fugue in D Minor ("Dorian'~. BWV 538. Possible borrowing: CHRISTMAS. Mvt ii: BEULAH LAND, THE SHINING SHORE. Possible borrowing: BRINGING IN THE SHEAVES; Beethoven: Sonata in F Minor for Piano, Op. 2, No. 1/ii. Mvt iii: BEULAH LAND, NETILETON, THE SHINING SHORE . Mvt iv: CORONATION, THE SHINING SHORE, WEBB.

I40

(Elliott Carter), 158 (Bernard Hermann), 159, 199 (Lou Harrison); Rossiter 1975,62-63, 108, 333n34, 366n53; Hitchcock/Pedis 1977, 51, 69, 81, 152; Feder 1992, 146, 278, 279; Burkholder 1995,49-75, 86-87; Swafford 1996, 100, 124-27, 130-31, 138, 155-56, 214, 232, 241, 343, 352, 360, i: 451n46, 452n56. Discography: Hall 1964/1, 142; Morgan 1974, 74; Cohn 1981, 915; Oja 1982: 5413; BlockB: D37-38. Comment: Ives's marginal annotations on a number of sketch and score pp. indicate that all mvts were derived from pieces for org or for org and str. Ives dates these pieces from 1896, but no scores survive. The str qt is not clearly dated as such in any of the sketches or scores, and Ives's annotations do not provide sufficient evidence to assign a reliable date of completion for the work. An earlier attempt (Pre-First String Quartet) is cited in p. 11 oflves's earliest extant manuscript (M) of Memos "2 String Quartets -1st in college N[o] G[ood]- destroyed only :fhlr [copy] I 2nd 'Salvation Army' is really a 2nd Edition of'Revival Service' 1896. It had one movement [with] nothing to do with R[evival] S[ervice] & [was] much better." The latter reference seems to be to mvt i (Chorale) which Ives removed from String Quartet No. 1.

Literature: KirkC: 2Al; AG: wl. Memos, 51-52, 73, 149, 154-55, 183 [Chorale (i), 66n8, 154n; Prelude (ii), 149, 154; Offertory (iii), 54n12, 149, 154; Postlude (iv), 149, 154]; Tunebook, 199-200. See also correspondence with Henry Cowell (CIP: IliA/Box 28/8, 14 June 1951), Lehman Engel (CIP: IliA/Box 29/3, 14 Oct 1933), Bernard Herrmann (CIP: IliA/Box 30/4,23 Mar 1938), and David Stanley Smith (CIP: IliA/Box 32/6,22 Nov 1921). BlockB: p. 5, W41, W41a, B2-3, B97, Bl14, B131, B150, B175, B252, B284, B287, B292, B519, B585, B586, B589-93. Cowell1955, 42; Perlis 1974, 19n, 143

After the first mvt was revised and rescored (c 1909-11) for use as mvt ii (later mvt iii) of Symphony No. 4, Ives intended that the quartet consist of only the last three mvts (and is listed as such in the work-lists; iii and iv are renumbered ii and iii in the Copyist 9 scores); however, with John Kirkpatrick's encouragement the work was published in its origina14mvt form. Scores by Copyist 9 of a keyboard arr. exist for mvts ii-iv. A note by Ives on the keyboard score for ii (S4, f2881) states: "S Quart. #1 A Revival arranged for piano & copied by Tams & Co!"

141

58.

STRING QUARTETS 058

String Quartet No. 2

Subtitle: (see Comment) Medium : Vn 1-2, va, vc Duration : 25 min. (22- 26 min.)

Movements: i. Discussions (Andante moderato- Andante con spirito- Adagio molto; 9 min., 132 nun.) Other title(s): Conversations and Discussions [see t2950].

Peer (1954)

ii. Arguments (Allegro con spirito; 4:30 min., II 0 nun.) Allegro con spirito "fl

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Peer ( 1954)

Source: I. Pencil sketch, continuous, of all three mvts: i, headed "I Conversations and Discussions," pp. 1-6 (t2950-55), patch (f0491); ii, headed "II Arguments," pp. 6-10 (t2955- 56, 2958-

60); iii, headed "Intro III," pp. 11 - 16 (t296264, 2966-68). Photostat repro ofp. 8 with patch attached (t2957); patch for p. II, I p. (t2961); rej. p. 14 (t2965). 2. Pencil score by George F. Roberts, headed

058

STRING QUARTETS

"Second String Quartet," 50 pp. (f29693018). Date: Composed/assembled 1911-13, mvt ii material dating from 1907. Mvt ii: A footnote tom. 77 in S1 (f2959) reads "from movement S.Q,. to make Gustave Bach 'wink' See letter Ap 22, '03---65 C. P. W," and an annotation at the bottom ofp. 10 ofS1 (f2960) reads "good place to stop-not end! I Jan 1 1911 70 W ll." Work-list A: "Second String Quartet (Two movements used in later pieces for orchestra) From about 1904 to 1914"; Work-list B: "2nd String Quartet. (2nd Movement 1907) Photostat[.] 1911-1913"; Work-list D has a typescript error that reads "(and Movement 1907)" meaning "(2nd Movement 1907)." AG: (i: 1911-13; ii: 1907-11; iii: 1911-13). Publication: New York: Peer International, 1954 (score and parts for sale); repr. 1970 with corr. by John Kirkpatrick. Premiere: New York City, 11 May 1946, by a Juilliard School student ensemble (Robert Kotf [vn 1], Walter Levine [vn 2], Rena Robbins [va], and Alia Goldberg [vc]), in a concert devoted to lves's music at McMillin Theatre, Columbia University, given as part of the Second Annual Festival of Contemporary Music. Also premiered in the same concert were The Unanswered Question and Central Park in the Dark. (Program, listing the Quartet as "first New York performance," and with notes on lves by Elliott Carter, in the CIP: VII/Box 50/7.) Reviewed by Olin Downes, NY Times (13 May 1946), Robert A Hague, PM(14 May 1946), p. 16; Miles Kastendieck, Brooklyn Eagle (12 May 1946); Paul Henry Lang, Saturday Review (1 June 1946), p. 43; Edward O'Gorman, NY Post (13 May 1946), Francis D. Perkins, NY Herald Tribune (13 May 1946). Second documented performance (and first professional performance): Saratoga Springs, NY, 15 Sept 1946, Walden String Quartet (Homer Schmitt [vn 1], Bernard Goodman [vn 2], Eugene Weigel [va], and Robert Swenson [vc]), in one of the concerts at the Seventh Yaddo Music Festival (called the Seventh

142

"Music Period"). Reviewed by Lou Harrison, NY Herald Tribune (22 Sept 1946; excerpt pub!. in Burkholder 1996, p. 345); Noel Straus, NY Times (22 Sept 1946); unsigned, The Musical Courier (1 Nov 1946). (A review by "AV.B" in the NY Sun [8 Oct 1946] of the 7 Oct 1946 Walden Quartet performance of the work in Town Hall, probably does not intend to confuse the chronology of the premiere: "[The Walden String Quartet] could further pride itself on giving the first professional reading of the Second String Quartet of Charles lves, introduced here by student players at Columbia University, where the Waldens had made their debut the year before.") First recording: The Walden String Quartet, fall1946 (issued in c1947 by Disc, set 775). Derivation: Mvt iii: Ending adapted for use in mvt iv of Symphony No.4 [#004]. Included as no. 15 in the List: Music and Democracy [#x641]. Borrowing: Mvt i: Columbia, the Gem of the Ocean, Dixie's Land, Hail! Columbia, Marching Through Georgia, Turkey in the Straw. Possible borrowing: Taps; Wagner: Prelude to Tristan und Isolde, I (mm. 1-2). Mvt ii: Columbia, the Gem ofthe Ocean, Hail! Columbia, Marching Through Georgia, Massa's in de Cold Ground; Beethoven, Symphony No. 9/iv (mm. 92-95); Brahms, Symphony No. 2/i (mm. 48-53); Tchaikovsky, Symphony No. 6/iii (mm. 81-83). Mvt iii: BETIIANY, NETILETON, Westminster Chimes. Literature: KirkC: 2A3; AG: w19. Memos, 73-74, 76, 161, 190, 266; i, 74, 266; ii, 74, 161, 266; iii, 74, 278; Tunebook, 202. See also correspondence with Lehman Engel (CIP: IliA/Box 29/3, 14 Oct 1933), Lou Harrison (CIP: IliA/Box 30/2, n.d. [?Oct 1944]), David Stanley Smith (CIP: IliA/Box 32/6, 22 Nov 1921), and Peter Yates (CIP: IliA/Box 32118, n.d. [?Sept 1944]). BlockB: W43, W43a, B2-3, B64, B84, B87, B97, B107, B114, B131, B149, B150,

143

BJ60, B252,B270,B276, B307, B360, B366, B378, B585, B586, B587- 88, B59!-96. Cowell 1955, 65; Perlis 1974, !59 (Bernard Herrmann), 167 (Arthur Berger), 186 (George F. Roberts), 203-05 (Lou Harrison); Rossiter 1975, 36, 136, !51, 310, 376n30; Hitchcock/ Perlis 1977, 51 , 62, 83, 148, !58, 171 , 215, 228, 231 , 244, 254; Lambert 1989 [Jnhigral] , 30--35; Lambert !990b, 46-48; Rathert 1991 , 139--64; Feder 1992, 234, 347; Lambert 1993, 56-57; Burkholder 1995, 294, 348- 50; Burkholder 1996, 345 (review excerpt); Swafford !996,224,225, 236,237-41,242,250,3 05, 472n65 and n68, i: 151,237,239, ii: !51 , 237,

VIOLIN SONATAS 059

238-29, iii: 237, 239--40, 472n67; Lambert 1997b, 130--31, 145--49, 160--61; Rathert 1997, 105- 32. Discography: Hall1964/2, 106; Morgan 1974, 74; Cohn 1981 , 915; Oja 1982: 5414, 5415 ; BlockB: D37- 39. Comment: On p. I ofSJ (f2950) lves wrote below the title: "S.Q. for 4 men--who converse, discuss, argue (in re ' Politick', fight, shake hands[,] shut up-then walk up the mountain side to view the firmament!"

B: VIOLIN SONATAS 59.

Pre-First Sonata for Violin and Piano

Medium: Vn, pf Duration: (see Movements) Movements: i. Allegretto moderato (5:45 min., 142 mm.)

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Rej. ii. Largo (5 min., 62 mm.)

Southern ( 1967)

059 VIOLIN SONATAS

144

ii. Largo (7 min. , 86 mm.) [for incipit see #060ii] Rej. iii. Scherzo (41 mm. extant) [inc.)

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iii. Largo- Allegro (99 mm. extant [collating S2 & S3]) (inc.]

Source: i. Allegretto moderato I. Sketches, mostly pencil, some ink, inc. (only mm. 1- 13,23- 38,50-65,75- 90,98- 108, 122-130, 139-141; sketches toward mm. 1926, 5{}-55; patches for mm. 47--49 and crossed out versions ofmm. 73-78, 88- 93}, 10 pp. (11177- 86). 2. Ink score: t.p. "This is not- Ist Sonata V & P (but written before that & not completed 3rd movem[ent] not est II started as Vio. Sonata #I 1903 [changed to 1900] (not used as a whole) only parts 2nd movement, kept see Organ & Vio" (11187); 6 pp. (f3188-93); photostat repro oft.p. on which lves made annotations (f7807). Rej . ii. Largo I. Pencil sketches, inc. (lacking mm. 14-24, 27, 30, 34--40, 50-62}, 6 pp. ( f3194-99) . 2. Ink score: t.p. " ll (Adagio from Vio & Piano Sonata I (1901) not 1st V & P Sonata but written before one called I (not completed)"

(f3201); 4 pp. (f3203-06); photostat repro (more complete than the tom MS) of the t.p. (f3200) and the first page of the score (f3202); photostat repro of the score on which I ves began inking in notes to be played by cl in the vncl-pfversion, 4 pp. (f7795- 98). ii. Largo I. Sketches, inc. (only mm. 5- 13 , 17- 21 , 31 47, and toward 73- 82), mostly in pencil, some in ink, 5 pp. (f3207- ll). 2. For ink score see the sources for mvt ii of Sonata No. I for Violin and Piano (11366-75). Rej. iii. Scherzo Fragmentary sketches, mostly pencil, some ink, 2 pp. (f3212- 13).

iii. Largo- Allegro I. Preliminary sketches and patches, mostly pencil, some ink, 4 pp. (11214-17). 2. Pencil sketch, inc. (mm. 29- 30, 48- 50 cut

145

off], headed "III," 8 pp. (f3218-25). 3. Ink score, inc. (lacking pp. 2-3 and 8-9 of 9, leaving only mm. 1-13, 41-85): t.p. "III Son #2" (f3226); 5 pp., headed "III" (f322731). Complete work 1. Ink copy by Copyist 10, with emendations by Ives, inc. (Jacking mvts i, ii). Vn and pf score: p. 1 only of iii (f3232), all else lacking; vn part: t.p. with memo (f2232), p. 1 (headed "Solo Violin") and p. 4 only (mm. 78-109) of iii (f3233-34), all else Jacking. 2. Ink copy by Copyist 9, inc. (includes complete mvt i and mm. 0-28 ofmvt ii; all else, including vn part, Jacking): t.p. "Sonata (C Major) for Violin and Pianoforte C. E. Ives" (f3235); 14 pp., headed "I" and in Ives's hand "Partly from Organ Postlude Center Ch '97 New Haven" (f3236-49).

Date: Composed c1902--{)7, according to Ives, based in part on material composed possibly as early as 1897; revised c1907. An annotation on the t.p. (f3235) ofS2 of the complete work: ''This movement not used. I The Sonata with it and as in this book I was a first Edition & copied as in here 1903 or '04 I -but in 1907 & 1908 it was revised and as in copy later parts here list & part of I - 3rd movement I not used I (see 1st Sonata [for Violin]) I Marked"; and below: "1901-12 65 Cent PI W revised-1909." An annotation on p. 1 ofS2 of the complete work: "Partly from Organ Postlude I Center Ch '97 I New Haven." Mvt i: An annotation at the bottom of p. 5 ofS2 (f3192): "65 Central Park W. finished (Nov. 1903) Circle 831." Rej. mvt ii: Annotation above the heading on the t.p. ofS2 (f3201): "Played at Organ recital Central Pres Ch 57 st NY Dec 16--1901-Wm Haesche soloist." Mvt iii: An annotation on the last p. ofSl: "sent to Mr. Price, who lost this slip 165 Central Park West NY November 1903." AG: mvt ii: 1902-?03; rej. mvt iii: 1902. Work-list A: "Allegro and Adagio for Violin and Piano (Started as a First Violin Sonata and never completed) 1902 to 1907"; Worklist B: "Allegro and Largo for violin and piano. Started as a First Violin Sonata and not com-

VIOLIN SONATAS 059

pleted. The Largo was originally for violin and organ (solo stop) and later for violin, clarinet, and piano. Photostat[.] 1901-1902." AG: - .

Publication: Rej. ii: published separately as Largo for Violin and Piano, New York: Southern Music Publishing Co., 1967, ed. by Paul Zukofsky (score and part for sale).

Premiere: Rej. ii: New York City, 16 Dec 1901, Central Presbyterian Church, William Haesche (vn), presumably accompanied by Charles Ives (org) (according to memo on f3201). First recording: Mvt i: Eugene Gratovich (vn) and George Flynn (pf), 23 Jun 1982 (issued 1982 by Finnadar Records, 90023-1 ). First recording ofrej. mvt ii: Paul Zukofsky (vn) and Gilbert Kalish (pf), 12 May 1970 (issued in 1970 by Columbia Records, M-30230). Derivation: Mvt i: Derived from the lost org Postlude [II] [#x694]; a portion of the mvt reworked as part of mvt ii for Sonata No. 2 for Violin and Piano [#061]. Rej. mvt ii: Pubd separately under the title Largo (and later arr. as Largo for Violin, Clarinet, and Piano [#073]); apparently derived from the lost Largo for Violin and Organ [#x666] (see S2 memo under Date), the music was probably adapted by Ives as a mvt for the lost Trio for Violin, Clarinet, and Piano [#x678]. Mvt ii: Used as mvt ii of Sonata No. 1 for Violin and Piano [#060]. Rej. mvt iii: Reworked as mvt ii of Sonata No. 2for Violin and Piano [#061]. Possibly once part of the Nine Ragtime Dances [#044]. (see Comment) Mvt iii: Reworked as mvt i of Sonata No. 2 for Violin and Piano [#061 ]. Borrowing: Mvt i: The Battle Cry of Freedom, Goo BE WITH You, Tenting on the Old Camp Ground. Possible borrowing: Beethoven, Andante favori in F. Mvt ii: The Old Oaken Bucket, Tramp,

146

060 VIOLIN SONATAS

Discography: Mvt i: Oja 1982: 5455, 5456; BlockB: D36 Mvt ii: Cohn 1981 , 913

Tramp, Tramp. Rej. mvt iii: Money Musk, Sailor's Hornpipe (College Hornpipe) , The White Cockade. Mvt iii: AUTUMN . Literature: KirkC: 2C2; AG: w4. Memos, 33, 67, 150, 156, 170n; Tuneboo~ 200. B1ockB: W58, B3, B156, B378, B621 , B623 and pp. 5--6. Cowell1955, 71n; Hitchcock/Perlis 1977, 130; Feder 1992, 177; Burkholder 1995, 226-27, 236-38.

Comment: The title is supplied editorially. On the rej. mvt ii (82, f3200) Ives identifies the rej. mvt iii as part of his ragtime materials (possibly Nine Ragtime Dances [#044]): "scherzo= 'Ragtime Dance' (put in 2nd Sonata)."

Sonata No. 1 for Violin and Piano

60.

Medium: Vn, pf Duration : 23 min. (20:30-28 min. ; see Comment) Movements: i. Andante--Allegro vivace (7 min., 151 mm.) Andante

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Source: i. Andante-Allegro vivace I. Miscellaneous sketches, 5 pp. (fl802, 2439, 3338-40). 2. Pencil sketch, inc. (mm. 1- 36, 57- 70, 8094, 100-11 , and 131 - 135 only), headed "Vi Sonata #2," 6 pp. (f3341-46). 3. Ink score: t.p. "I st Violin Sonata I" (f3347); 8 pp., headed "I" (f3348- 56).

ii. Largo cantabile I. Sketches of the original version in the PreFirst Sonata for Violin and Piano/ii, inc. (only mm. 5- 13 , 17-21 , 31-47, and toward 73- 82), 5 pp. (f3207- ll). 2. Ink score of the original version in the PreFirst Sonata for Violin and Pianolii, inc. (mm. 0-28 only), 3 pp. (f3247-49). 3. Ink score: t.p. "II C E Ives 37 Liberty St. 46 Cedar St." (f3366); 5 pp., headed "II" (f336768, 3370, 3372, 3374); photostat repro of pp. 2- 5 of the original score to which lves attached patches for mm. 21-24 (f3369), mm. 52- 53 (f3371), mm. 70-75 (f3373), and mm. 76-86 (f3375).

iii. Allegro I. Pencil sketches (neither continuous nor complete) and patches, 16 pp. (f3381 - 96). 2. Ink score, inc. (lacking mm. 89- 111): t.p. "III C E Ives 37 Liberty St I C.E. Ives ~ N'~sau St NY 46 Cedar St'' (f3397); 14 pp. , headed "III" (f3398- 3411); on a photostat repro ofpp. I and 3 Ives attached patches for

mm. 4-5, 6-8 (f3399) and mm. 42-43, 52- 53 (f3402); on a photostat repro of p. 5, lves removed a patch originally covering pfLH, mm. 171-72 (f3409). Complete work I . Ink copy by Emil Hanke, with emendations by lves: i, pp. 1- 9 (f3357-65); ii, pp. 10-14 (f3376-80); iii, pp. 15-26 (f3412- 23). 2. Program note for the work: typescript mimeographed copy attached to a bound photostat repro (formerly in the American Composer' s Alliance library) of Hanke' s score. (see Comment) Date: Assembled/recomposed cl914·from mvts composed 1901-{)8. Mvt i: Annotations on the t.p. ofmvt i (S3, f3347) : " 1st Violin Sonata Sonata #2 I 1906 (I st [mvt]) 1909 (3rd [mvt]) I [(]last movement revised 1911) (II) 1902 mos[tly?] Oct[?]," and below "finished Oct 1908 6 pm copied as here Dec 1909 Tarns 1910 Saranac L[ake] Dave & Ella [?]." Mvt ii: An armotation at the bottom of the last p. ofS3 (f3374): "2nd movement 1st Sonata for V & P. C E Ives 46 Cedar St NY I 1903 - finished Feb 1908 - 34 Gramercy Park NY I (copied as above 1909 - & see Tarns copy later." Mvt iii: An armotation at the bottom of a sketch p. (Sl , f3388) : "(from organ & soprano song I [sung by] Miss Wilson, Cent Pres Ch. I Service in YMCA- 57 st I Nov21st 1901-seeo/dcopy l insafe37 L[iberty St.]" (words shown in italics were

060 VIOLIN SONATAS

added toMS after the photostat was shot) and at the bottom of the last p. ofS2 (f3411): "3rd movement 1st Sonata for Piano and Violin C.E. Ives 46 Cedar St NY summer-Aug Sep 1907 I (have old lead pencil copy in trunk in Danbury, put in safe at 46 Cedar I played in [? two illegible words] Oct 4-'03." Work-list A: "First Violin and Piano Sonata 25 min. Photostat[.] 1908"; Work-list B: "First Violin and Piano Sonata- 3 movements Photostat 25 min. 1903-1908." AG: (i: 1902?06; ii: 1908; iii: 1906-?08). Publication: New York: Peer International, 1953 (score and part for sale). Premiere: San Francisco, 27 November 1928, Dorothy Minty (vn), Mrujorie Gear (pt), in a recital at the Rudolph Schaeffer Studios, sponsored by the New Music Society of California. (Concert announcement, listing the work, only as "Sonate," without a number, in the CIP: VII/Box 50/2; repr. in Mead 1981, p. 104. In a letter to John Tasker Howard, reproduced in Memos, p. 237, Ives identifies the work as Sonata No. 1.) Reviewed by Marjory M. Fisher, Musical America (15 Dec 1928). First recording: Joan Field (vn) and Leopold Mittman (pt), Sept 1951 (issued in 1951 by Lyrichord, LL-17). Derivation: Mvt ii: Reworked from the replacement mvt ii of Pre-First Sonata for Violin and Piano [#059]. Mvt iii: Adapted from the lost song Watchman![/] [#x727]; adapted for and from the song Watchman! [II] [#386]; this mvt or the derivative song was reworked for inclusion in mvt i of Symphony No. 4 [#004]. Borrowing: Mvt i: The Old Oaken Bucket, THE SHINING SHORE; Ives, Sonata No. 2 for Violin and Pianoli. Possible borrowing: BRINGING IN THE SHEAVES. Mvt ii: The Old Oaken Bucket, Tramp, Tramp, Tramp. Mvt iii: WATCHMAN, WORK SONG; lves,

148

Sonata No. 2 for Violin and Piano/i.

Literature: KirkC: 2C4; AG: w16. Memos, 66, 68-69, 70, 118, 123, 126, 128, 130, 150, 160, 170,237,240nl6;Tuneboo~201.See also correspondence with Lou Harrison (CIP: IliA/Box 30/3, 9 July [1947] and n.d. [Ives's reply]), Max Pollikoff (CIP: IliA/Box 31/4, n.d.), T. Carl Whitmer (CIP: IliA/Box 32/13, 8 June 1927), and Ives's Diaries (CIP: V/Box 45/12, autobiographical notes). BlockB: W59, W59a--e,Bl05, B113, B131, Bl77, B187, B236, B365-66, B378, B586, B612-17, B619-24, B626, B628, B630-32. Cowell1955, 69, 71, 7ln, 72; Rossiter 1975,97,98, 310; Hitchcock/Perlis 1977, 128-30, 136, 138-39; Mead 1981, 103-05; Burkholder 1995, 163-65, 170-72, 200-206, 241--42; Swafford 1996, 221, 352, 372, 457n74. Discography: Hall 1964/2, 102; Morgan 1974, 74; Cohn 1981, 913; Oja 1982: 5457, 5458, 5459; BlockB: D30, D35, D44, D46. Comment: In Work-list D Ives gives the duration as "20 min." In a mimeographed page pasted in front of a bound copy of photostats of the Hanke score (Complete work, S2), lves gives a program note: This sonata is in part a general impression, a kind of reflection and remembrance of the peoples' outdoor gatherings in which men got up and said what they thought, regardless of consequences---of holiday celebrations and camp meetings in the 80's and 90's-suggesting some of the songs, tunes, and hymns, together with some of the sounds of nature joining in from the mountains in some of the old Connecticut farm towns. The first movement may, in a way, suggest something that nature and human nature would sing out to each other-sometimes. The second movement, a mood when "The Old Oaken Bucket" and "Tramp, Tramp, Tramp, the Boys are Marching" would come over the hills, trying to relive the sadness of the old Civil War days. And the third movement, the hymns and actions

149

at the farmers' camp meeting inciting them to "work for the night is coming." This sonata was composed mostly in 1903

VIOLIN SONATAS 061

and completed in detail in 1908. (the above mostly taken from footnotes on the back of the old manuscript)

Sonata No. 2 for Violin and Piano

61.

Medium : Vn, pf(see Comment) Duration : 15 min. (13 :30-15:30 min.; see Comment) Movements: i. Autumn (Adagio rnaestoso-Allegro moderato, 6 min., 109 mm. [see Comment]) Adagio maestoso (\

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061 VIOLIN SONATAS

iii. The Revival (Largo- Allegretto, 4 min., partly unbarred) Largo

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G. Schirmer ( 195 1)

Source: i. Autumn I. See sources for the original version in the Pre-First Sonata for Violin and Piano/iii, sketches (f3214-25), ink score (f3226-31), and ink copy (f3232). 2. Ink and pencil patches, 4 pp. (f3424-27). 3. Ink score: t.p. "2nd Violin Sonata 1st movement 1908- 10 2nd 1902- 7 3rd 1906-9" (f3428); II pp., headed "I Autumn" (f342939); photostat repro ofp. 6 (f3435), p. 7 (f3437), and p. 8 (f3439). ii. In the Barn I . For sketches towards mm. 8- 39, 64--70 see Pre-First Sonata for Violin and Piano, rej. iii: sketches (f3212- 13); for early version ofmrn. 193- 224, see Pre-First Sonata for Violin and Piano, i: mrn. 129- 39 (sketches [f3177- 86], ink score [f3187- 93] , and ink copy [f323649]). 2. Miscellaneous pencil and ink sketches and patches, 7 pp. (f3440-46). 3. [First] ink score, inc. (various pp. and portions ofpp. missing), 8 pp. (f3447- 54). 4. [Second] ink score: t.p. "2nd movement started 1902 (a small Theater orch score) revised 1908 34 Gramercy Park Nov. 1907" (f3455); II pp. (f3456-66); photostat repro of p. I (f3457) and 2 (13459) to which Ives added patches.

iii. The Revival I . See sources for the original version in Sonata No. 4 for Violin and Piano/rej. iv, sketches

(f3251 - 53) and lithographed score (f326881). 2. Fragmentary ink and pencil sketches and patches, 3 pp. (f3467--69). 3. Ink score: t.p. "III 3rd movement" (f3470); 5 pp., headed "III 'The Revival"' (f3471-74); photostat repro ofp. 5, with no changes (f3475). Date: Assembled/recomposed c l914 from mvts composed 1901, 1903, and 1907- 10; revised 1919. An annotation in ink on the t.p. of mvt i (S4, f3428) : "2nd Violin Sonata 1st move-ment '1908- 10' 2nd 1902- 7 3rd 1906-9." Mvt i: An annotation at the bottom of the last p. ofS4 (f3438): "July '03 Oct '07 (1907)" [see #265, Date] Mvt ii: An annotation on the t.p. ofS4 (f3455): "II movement started 1902 (as small Theater orch score) revised 1908 34 Gramercy Park Nov. 1907." Mvt iii: An annotation at the end ofS3 (f3475): " 1906, 1909- 10 III m[ovement] finished 70 W II." MS Work-list 3 has "[i] July 03--0ct 07 I [ii] 1902--07 1[iii]I906-1910"; Work-list A: "Second Violin and Piano Sonata 25 min. Photostat[.]l902 to 1909"; Work-list B: "2nd Violin and Piano Sonata - 3 movements Photostat 20 min. 1907- 1910 [amended in Ives's hand to 1904--1910]"; no new data in Work-list C; Work-lists D-E: date, in typescript, reads "1903-1910"; Work-list F: "2nd Violin and Piano Sonata - 3 Movements[.] To be published by G. Schirmer, Inc., 3 East 43rd St., New York Photostat 15 min. 1903-

151

1909 [above the date "1909" Ives has added "or 10?")." AG: (i: Oct 1907; ii: Nov 1907; iii: 1909-10). Publication: New York: G. Schirmer, 1951 (score and part for sale); edited, without attribution, by John Kirkpatrick. Assigned 1979 to Associated Music Publishers. Premiere: New York City, 18 Mar 1924, Jerome Goldstein (vn), Rex Tillson (pf), in a recital at Aeolian Hall (Concert announcement and program in the CIP: VII/Box 50/2; concert announcement repr. in Perlis 1974, p. 73.) Reviewed, unsigned, NY Herald Tribune (19 Mar 1924), p. 15; Wmthrop Tyron, Christian Science Monitor (24 Mar 1924), p. 10; unsigned, Musical Advance (Apr 1924), pp. [17-18]. First recording: Complete work: Patricia Travers (vn) and Otto Herz (pf), 17 Apr 1950 (issued in 1951 by Columbia Records, ML2169). First recording ofmvts ii and iii: Sol Babitz (vn) and IngolfDahl (pf), early 1940s (issued c1947 by Alco, set AR-101). Derivation: Mvt i: Derived from the Pre-First Sonata for Violin and Piano/iii [#059]; the concluding section (mm. 95-109) was arr. as the song His Exaltation [#265]. Mvt ii: Mm. 8-39, 64-70 derived from the rej. mvt iii (Scherzo) of Pre-First Sonata for Violin and Piano [#059]; mm. 193-224 derived from mvt i of Pre-First Sonata for Violin and Piano (mm. 129-139) [#059]. Mvt iii: Derived from the rej. iv of Sonata No. 4 for Violin and Piano [#063]. Borrowing: Mvt i: AUTUMN. Mvt ii: The Battle Cry of Freedom, Money

Musk, Sailor's Hornpipe (College Hornpipe), Turkey in the Straw, The White Cockade; Ives: Four Ragtime Dances, No.1 (and with it, HAPPY DAY). Mvt iii: NETTLETON. Literature: KirkC: 2C5; AG: w17. Memos,

VIOLINSONATAS 061 69, 70, 118, 119n7,121, 123, 130, 150, 16162,237 [i, 67n4, 170n; ii, 42n2, 67n4, 69, 162; iii, 54n12, 162, 165n]; Tunebook, 201-{)2. See also correspondence with Jerome Goldstein (CIP: IliA/Box 29/13, 10 Oct 1922), John Kirkpatrick (CIP: IliA/Box 30/14,31 Aug 1944), T. Carl Whitmer (CIP: IliA/Box 32/13, 8 June 1927), and Ives's Diaries (CIP: V/Box 45/12, autobiographical notes). BlockB: W60, W60a, BIOS, B113, B131, Bl77, B187, B236, B252, B365-{)6, B378, B603 (excerpt of review publ. in Burkholder 1996, 291-92), B604, B605 (reviewpubl. in Burkholder 1996, 290-91), B609-10, B61524, B626, B628-32. Cowell1955, 65, 67, 69, 72, 79; Perlis 1974, 72-74 (Brewster Ives), 226 (John Kirkpatrick); Rossiter 1975,97, 98, 205,282, 310; Hitchcock/Perlis 1977, 127-34, 136, 140, 178, 228; Hepokoski 1994, 747--49; Burkholder 1995,165,170-74, 197,200,315-16;Swafford 1996, 164,220,279, 457n74. Discography: Hall 1964/2, 102; Morgan 1974, 74; Cohn 1981, 913; Oja 1982: 5460, 5461, 5462, 5463; BlockB: D30, D35, D4344, D46. Comment: Goldstein must have used a nowlost score and part for his 1924 performance. This may have been a copy made by Hanke for Ives in the early 1920s. See KirkC, p. 78, for a memo on Ives's ink score (S3): "Mr. Ives, Am sorry I missed you to-night. When ready I shall be pleased to make any corrections that have occurred if you will call me up ..." In Worklists D-G Ives gives the duration as "15 min.," in Work-list H, "c. 20 min." On the last 2 pp. (mm. 195-229) ofmvt ii (S4), Ives gives an opt. piano-drumming part for a 2nd player (or the page-turner). KirkC notes that "m. 14 is 7/4; the [Schirmer] edn [mistakenly] divides it by a solid, instead of a dotted, barline." In Memos, p. 126 Ives takes two points of view about the quality of the piece: "the First Violin Sonata in part was a kind of slump backward, although in some places it is quite the opposite."

152

062

VIOLIN SONATAS

62.

Sonata No. 3 for Violin and Piano

Medium: Vn, pf Duration: 29 min. (25:30-36 min.; see Comment) Movements: i. Adagio (14 min.; Verse I and refrain, rnm. 0-86; Verse 2 and refrain, rnm. 87-158; Verse 3 and refrain, rnm. 159-240; Verse 4, partly unbarred, with 13 mm. refrain.) Adagio fl 0)

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153

Source: i. Adagio I. Fraginentary pencil and ink sketches for the refrain and verses 1 and 2 only, 10 pp. (t347685); photostat repro (as seen in f3482) with ink emendations by Ives, sent to IngolfDahl (f3677). 2. Ink score: t.p. "S #3 1st movement" (t3486); 15 pp., headed "I" (t3487-3501). ii.Allegro 1. [First] pencil sketch, inc. (nun. 15-79, 8388, 94-95 only), 5 pp. (t3502...()6). (see Comment) 2. [Second] pencil sketch, inc. (lacking portions of nun. 15, 17, 66 and 96): t.p. "3 Sonata II I m I Sonata #3" (t3507); II pp. (t350818). 3. Ink score: t.p. "S #3 2nd movement" (f3519); 9 pp., headed "II" (t352a-28).

iii. Adagio cantabile 1. Fragmentary pencil sketches, 9 pp. (f352937). 2. Pencil sketch, inc. (mm. a-so, 131-50, 152-72, 178-85 only), headed "mostly from organ Prelude -Flute Stop & Choir see copies Library Cent. Pres Church play 1901Nov-," 6 pp. (f3538-43). 3. Ink score: t.p. "Sonata #3 3rd movement" (f3544); 10 pp., headed "III file old organ prelude score in Central Pres ch. Library NY with this" (t3545-54). 4. Vn part by Copyist 12, inc. (nun. 144, 179214 only), 1 p. (f3607). 5. Vn part by Copyist 13: t.p. "Violin III" (f3608); 4 pp., headed "1st Violin III" (f360912). Complete work I. Ink copy by Copyist 12, with numerous emendations by Ives: t.p. "Sonata #3 for Piano and Violin I ChasE. Ives 38 Nassau St. N. Y'' (t3555); 49 pp. (t3556-3604); patch hinged to p. 49 (t3605); patch on separate p. (f3606). 2. Photostat repro of ink copy by Copyist 12, with copious emendations by Ives (made after those in S 1) for use by Sol Babitz and Ingolf Dahl: t.p. and 49 pp. (f3613-62); patch (f3663).

VIOLIN SONATAS 062

3. Photostat repro ofvn part by Copyist 12, with bowings (in red) by Sol Babitz: t.p. (t3664 "Sllf3555); 12 pp. (t3665-76). Date: Assembled/recomposed in 1914 from mvts composed 1901...()4, according to Ives. An annotation on the t.p. ofmvt i (S2, f3486): "This sonata #3 is not much good. It was finished just after a famous German Virtuoso violinist M[ilcke] by name, was here in Redding to play Oct 1914 the 1st Sonata." An annotation on the t.p. of the ink copy of the complete work (Sl, t3555): "written for flute 119021913 I III 19141 Tunes-1st movement Organ Pre-1901 3rd I last movement I middle part after lost ms score I for small orchestra I 2nd 1904 -I finished & enrasculated I 1914 I after Prof. M[ilcke] had I got offhis reg. stuff." An anno-tation (crossed out) at the end of the ink copy of the complete work (S 1, f3605): "(ended)- not fine I Dec 2 [or 20?] 1914)." Mvt i: Two annotations on p. 1 ofS2 (t3487): "Adagio-1st verse & 2nd & 3rd Verses & Refrains I from Organ Preludes, played C.P church Nov 1901)" and above "11-Movement from Theater Orches Score played 14th Nov 1905"; annotation on p. 20 of S2 (f3633) of the complete work: "(1902)." Mvt ii: An annotation on p. 1 ofS2 (t3508): "(started as Organ Toccata I for Central Pres ChconcertMay8 [or 18?]-1901, I later used in a Violin Sonata 1914 [15?] as a Sonata N.G."; at the bottom of the t.p. ofS3 (f3519): "(Some of this movement was in a Rag-time Dance-Theater Orchestra--a short piece & played in Globe Th[eater]-14th in 1905-put in this movement later"; a memo at the bottom ofp. 22 of the ink score of the complete work (S1, t3577) slightly amplifies: "Mr. Ross [the pianist for the first performance in 1917]: This movement was written first for small theater orchestra in 1902...()3- & played in Globe Thea NY Dec. 1905"; annotation on p. 32 of S2 (t3645) of complete work: "(1905)." Mvt iii: An annotation at the top ofp. 1 ofS2 (t3538): ''mostly from organ Prelude-Flute stop & choir I see copies Library Cent. Pres Church play 1901 Nov"; annotation on p. 49 ofS2 (f3662) of complete work: "(1902-14)." MS Work-list 3 has 1916; Work-list A:

062 VIOLIN SONATAS

"Third Violin and Piano Sonata[.] 30 min. Photostat[.] 1907 to 1914"; Work-list B: "3rd Violin and Piano Sonata- 4 Movements[.] Photostat[.] 30 min. 1902-1914"; Work-list G: date, in typescript, given as "1905-1914." AG: 1913-?14. Publication: New York: New Music, vol. 24/2 (Jan 1951), ed. by IngolfDahl and Sol Babitz (score and part for sale). Assigned 1958 to Merion Music and repr. without change. Premiere: New York City, 22 Apr 1917, David Talmadge (vn) and Stuart Ross (pt), at a "small invited concert" at Carnegie Chamber Music Hall (see Memos, p. 69). Second documented performance: Los Angeles, 16 Mar 1942, Sol Babitz (vn), Ingolf Dahl (pt) in a concert on the "Evenings on the Roof' series (see Comment). Reviewed by Isabel Morse Jones, LA Times (18 Mar 1942). First recording: Sol Babitz (vn) with Ingolf Dahl (pt), 1940s (issued in 1940s by Alco Records). Derivation: Mvt i: Derived from the lost org Preludes [#x702] and/or Piece for Voices and Organ [#x711] (see Comment). Mvt ii: Partly derived from the lost org Toccata [#x706] and the lost orch Ragtime Dance [#x648]. Mvt iii: Derived mostly from the lost org Prelude [III] [#x699]. Borrowing: Mvt i: BEULAH LAND, NEED. Mvt ii: THE BEAUTIFUL RivER, THERE'LL BE No DARK VALLEY. Mvt iii: NEED. Literature: KirkC: 2C6; AG: w21. Memos, 69-71, 118, 126, 150, 163, 171n, 237; Tunebook, p. 202. See also correspondence with Madeleine Carabo (CIP: IliA/Box 27/10, n.d. [reply to letter of 1946]), Henry Cowell (CIP:

154

IliA/Box 28/6, n.d. [reply to 1 May 1942] and n.d. [reply to 21 Sept 1944]), T. Carl Whitmer (CIP: IliA/Box 32/13, 8 June 1927), Ives's Dairy 7 (CIP: V/Box 45/7, 22 May 1917), and lves's Diaries (CIP: V/Box 45/12, autobiographical notes). BlockB: W62, W62a-c, B90, B113, B131, B170, B177, B185, B187, B236, B252, B330, B365-66, B378, B400, B586, B608-09, B611-12, B615-17, B619-24, B626, B628, B630-32. Cowell1955, 65, 71-72; Pedis 1974, 134 (Elliott Carter), 199 (Lou Harrison); Rossiter 1975,41,43,97,98, 155,288,310,374n1; Hitchcock/Perlis 1977,72, 127-29, 131, 13337; Burkholder 1995, 142, 154-61, 166, 17478,206-12, 243; Swafford 1996,220,221, 236,237,266,269,279,416,457n74. Discography: Hall 1964/2, 106; Morgan 1974, 74; Cohn 1981, 913; Oja 1982: 5464, 5465, 5466, 5467, 5468; BlockB: D30, D35, D44,D46. Comment: A memo on the ink copy of the song Tom Sails Away (S3, ffi899) may indicate the existence of a lost, rej. sketch for mvt i (or an abandoned mvt): "Scetch [sic] for a Vio. Sonata-M[ilcke]. looked at it when on a visit to us in Redding Oct. 1914 -was to put in 3rd-Didn't-too much forM I put into this song Sep 1917." In a letter draft to Henry Cowell, n.d. [in reply to Cowell's of21 Sept 1944], Ives indicates a different derivation: "This 1st movement is from an old piece for voice & organ. Voices all in E, organ in D' and when the singers got used to keeping the two keys in mind & heart, they seemed to enjoy it..." Babitz and Dahl may have done their first performance of this sonata during the AugSept 1940 Ives festival put on by Peter Yates. In Work-list D-F lves gives the duration as "20min." In Memos, p. 126 Ives describes this work a bit negatively: "Some of the Third and Fourth Violin Sonatas ... [were] a kind of slump backward."

155

VIOLIN SONATAS 063

Sonata No. 4 for Violin and Piano: Children's Day at the Camp Meeting

63.

Medium: Vn, pf(see Comment) Duration: 10:30 min. (8:30--12 min.; see Comment) Movements: i. Allegro (2:30 min., 87 mm.) Allegro (in a rather fast march time-most of the time)

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Source: i. Allegro For original versions ofmm. 49- 55, 59-69, 75- 77 see the ink score of George Ives' s Fugue in B ', with Charles Ives' s emendations, I p. ( f7397) . ii. Largo- Allegro (conslugarocko }-Andante con spirito- Adagio cantabile-Largo cantabile I. Fragmentary pencil sketches, headed "II", 4 pp. (t2608, 3251-53). 2. Pencil sketch, inc. (lacking final 3 mm.), headed "II", 4 pp. (t3254-57).

iii. Allegro Miscellaneous pencil sketch fragments, headed "Ill", 3 pp. (t3259-61 ). Rej. iv. Adagio- Faster Pencil sketches, inc., not continuous, headed "IV [changed to] III," 4 pp. (t3263-67). Complete work I. Lithographed score (made by Greinert, ?1916), complete copy with all four mvts, 24 pp. (t3268- 81 ); title on front cover "Sonata No. 4 I ' Children's Day' I for I Violin & Piano" (see S6 below). 2. Bound photostat repro (in blue cardboard) of the lithographed score, inc. (i-iii only), with numerous emendations by Ives, 19 pp. including front cover (t3288- 3306); patches, 4 pp. (!0560, 3250, 3258, 3262). 3. Bound photostat repro (in brown wrapping

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paper) of the lithographed score, inc. (lacking pp. 1-3 and 13- 18), with numerous emendations by Ives and by George F. Roberts, 16 pp. (t3307- 22). 4. Set of proof pages for the Arrow edn, with emendations by Ives, headed in Harmony Ives's hand "Sonata for Violin and Piano- no. 4 [' ]Children' s Day at the Campmeeting"': pp. 2-6, 16 only (t3323-29). 5. Another [second?] set of proof pages with emendations by Ives (a few of which are in Harmony Ives's hand): pp. 2, 8, 11-12, 16, 18- 20 only (t3330-37). 6. Vn part by Copyist 17 for the first three mvts, 6 pp. (t3282- 87); this part agrees with Sl above. Date: Assembled c 1916 from mvts composed 1900-16. An annotation at the bottom of p. 14 ofthe complete work (S3, t3318): "actually finished- as copy Oct 20 1914 see I st copy see end pencil cop[y)"; dated 1915 at the end of complete work (S3, t3322). Mvt i: No date; S I must predate the sketches of In the Night (cl913; Set for Theater Orchestra/iii) since one p. (t2608) contains a sketch ofmm. 3-6 of In the Night added after the violin sonata material. Mvt iii: Annotation at the bottom of a sketch p. (t3261 ): "started as Cornet & Violins Qu piece 1905 (with Dave C [Twichell]) at Saranac Aug 1905 finished later as Violin Sonata." MS Work-list 2: "Fourth Violin and Piano Sonata 20 min. Lithograph[.] 1916"; Work-list

157

B: "4th Violin Sonata- 3 Movements[.] Lithograph, 1916" (but someone, perhaps Ives, has added "Published Arrow Music Pres 17 E 42" and changed the date to "1914-15"). KirkC: say 1906?; AG: (i: 1914-?16; ii: 1906?16; iii: 1914-?16; rej. iv: 1906). Publication: 1. Private printing by Ives of the score, c1916? (see Source). 2. New York: Arrow Music, 1942 (score and part for sale), including Ives's postface "Notes on Fourth Violin Sonata." Assigned 1957 to Associated Music Publishers; repr. from the Arrow plates without change. Premiere: First documented performance: New York City, 14 Jan 1940, Eudice Shapiro (vn), Irene Jacobi (pf), in a concert of choral and chamber music in the Auditorium of the Museum of Modem Art, sponsored by the League of Composers. (Program, announcing the performance as "first New York performance," in the CIP: VII/Box 50/6.) Reviewed by Olin Downes, NY Times ( 15 Jan 1940), p. 10; Francis D. Perkins, NY Herald Tribune (15 Jan 1940), p. 9. An undated concert series announcement [early 1939] for six programs sponsored by the "Evenings on the Roof' concert series, Los Angeles, lists a concert for 25 June 1939, featuring the "Fourth Sonata for violin and piano, 'Children's Day"' to be performed by Orline Burrow (vn), Frances Mullen (pf). (Announcement in the CIP: VII/Box 50/5; no further information located regarding this concert.) First recording: Joseph Szigeti (vn) with Andor Foldes (pf), 14 Feb 1942 (issued in 1942 by New Music Recordings, NMR no. 1612). Derivation: Mvt i: Derived from the lost Sonata for Trumpet and Organ [#x675]. Mvt iii: Derived from the lost Piece for Cornet and Strings (on "The Beautiful River" [#x668]; the last section ofthe mvt (mm. 3357), quoting Robert Lowry's gospel song "The Beautiful River," arr. as the song At the River [#214].

VIOLIN SONATAS 063 Rej. mvt iv: Revised slightly as mvt iii (The Revival) of Sonata No. 2 for Violin and Piano [#061]. Borrowing: Mvt i: OLD OLD STORY; George lves, Fugue No.4 in s•. Mvt ii: JESUS LOVES ME. Mvt iii: THE BEAUTIFUL RivER. Rej. mvt iv: NETTLETON. Literature: KirkC: 2C3; AG: w22. Memos, 72,126,151,165, 170n;Tuneboo~202-03. See also correspondence with David Talmadge in Misc. (CIP: IIIC/Box 37/1, n.d. [on inside cover oflves's private printing of the sonata]) and T. Carl Whitmer (CIP: IliA/Box 32/13, 8 June 1927). BlockB: W63, W63a-b, B63, B87, Bll3, B131, B177, B187, B236, B252, B279, B286, B291, B365--{)6, B378, B586, B606-07 (excerpts of reviews are pub!. in Burkholder 1996, 337-38), B615-17, B616-26, B628, B630--32. Cowelll955, 65---{)6, 71, 113, 129n, 130; Perlis 1974, 156 (Bernard Herrmann), 199 (Lou Harrison); Rossiter 1975,41, 97-98, 288,293,310, 374n1, 375n17; Hitchcock/ Perlis 1977, 127-30, 134-36, 149, 162; Gingerich 1986, 85-93 (iii); Feder 1992, 184, 190--91 (iii); Hepokoski 1994, 749-50 (iii); Burkholder 1995, 167---{)8, P7-84, 189, 193; Swafford 1996, 177,417, 457n74. Discography: Halll964/1, 146; Morgan 1974, 74; Colm 1981, 913; Oja 1982: 5469, 5470,5471,5472,5473,5474, 5475;BlockB: D30, D35, D42, D44-46. Comment: The lithograph ofGreinert's score (complete work, S 1) was printed with all four mvts; Ives later ripped out mvt iv from most of the copies on deciding to withdraw it from this work and the mvt was revised slightly for publication as mvt iii of Sonata No. 2 for Violin and Piano. A brief program note appears in a letter draft to David Talmadge, n.d., written on the cover of a copy ofGreinert's lithograph (CIP: IIIC/Box 37/1): "It is 'hi-called' 'Children's Day at the Camp meeting'-and why

064

158

OTHER CHAMBER WORKS

not? It was finished that summer in [?] 1915 you remember at Redding. [The following sentence is added in pencil:] I think I played some of it [at] 27 W II " [Ives' s residence Nov 1914--8 May 1915]. Mvt ii has a now inc. part for two drums (mm. 39--49 are extant; a corner ofS2 is torn away). S6 was prepared possibly for the Evenings on the Roof concert planned for 25 June 1939 (although we have no evidence that the work was played; if so, it would have been a premiere); Lehman Engel of Arrow Music Press corresponded with Ives about publication in July 1939; the first proofs went to Ives on 14

C:

May 1940, second proofs on I Nov 1940, 3rd proofs on 24 Jan 1941 , and the work was ready for printing on 25 Feb 1942. Ives and Roberts therefore must have begun working on the piece beginning in fall 1939 or spring 1940. In the postface to the Arrow/AMP 1942 edn, Ives notes that the position of the first and third mvts may be switched with one another. In Work-list E Ives gives the duration as "about 10 min." In Memos, p. 126 I ves describes this work a bit negatively: "Some of the Third and Fourth Violin Sonatas ... [were] a kind of slump backward."

OTHER WORKS

Decoration Day for Violin and Piano

64.

Medium : Vn, pf Duration: 7 min., 149 mm. [in Kirkpatrick reconstruction] (Very slowly- Allegro)

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Source: I . Pencil sketch, 5 pp. (ID705-0709); patches, 2 pp. (ID710-II). 2. Ink copy, headed: "II 'Decoration Day' Sonata #5 ' N. E. Holidays"' and "(arranged for I for Vio. & Piano I from ' Orchestral Set I ' Decoration Day' Holiday I Symphony," 8 pp. (ID712-18). Date: Arr. after 1919 from music composed in Sept 1912, according to a patch (ID711) listed within S I , "Scetchs [sic] Decoration Day I

\.£

t~~ ~~'f:

1':\

"

~

7 4,

~;;.

1- .

-

li

?f.

Peer (I 989), ed. Kirkpatrick

Saranac Lake NY I Sep 1912." AG: 1912. Publication : Ives Society critical edn of reconstruction by John Kirkpatrick in preparation for Peer International. Premiere: First documented performance: New Haven, CT, 19 Oct 1973, by Daniel Stepner (vn), John Kirkpatrick (pf), in an all-Ives concert sponsored by the Yale University School of Music, and given in the Music Annex, Room 310.

159

Second documented performance: New Haven, CT, 19 Jan 1976, by Daniel Stepner (vn) and John Kirkpatrick (pf), in a recital at Sprague Hall, Yale University. Reviewed by Gordon Emerson, New Haven Register (20 Jan 1976). The concert was repeated in New York City, 8 Mar 1976 in Town Hall. Reviewed by Robert Kimball, NY Post (9 Mar 1976).

OTHER CHAMBER WORKS 065

Tenting on the Old Camp Ground; Reeves, Second Regiment Connecticut National Guard March. Possible borrowing: Dies irae, LAMBErn, Yankee Doodle. Literature: KirkC: 2C7; AG: w18 (ii only). Memos, 148n; Tunebook, 202. BlockB: B63132. Discography: BlockB: 044.

First recording: Daniel Stepner (vn) with John Kirkpatrick (pf), 18-19 and 22 Dec 1978 (issued in 1982 by Music Masters, 20056-7). Derivation: The middle section (quoting ADESTE FIDELES) may have been based on the lost Slow March, with "Adeste Fide/es" [#x665] for band; arr. from the original form ofmvt ii (Decoration Day) of A Symphony: New England Holidays [#005], later used for the 1920s revision of that orch mvt. Borrowing: ADESTE FIDELES, The Battle Cry ofFreedom, Battle Hymn ofthe Republic, BETHANY, Marching Through Georgia, Taps,

65.

Comment: KirkC (p. 81) suggests that this piece was part of a projected arr. for vn and pf of all four mvts of the orch A Symphony: New England Holidays. The only reference to a complete sonata is a note on S6, p. 1 (f0712) of mvt ii of A Symphony: New England Holidays: "Sonata #5 'N.E. Holidays."' But only the Decoration Day mvt exists in a MS which can be clearly identified as intended for vn and pf. Kirkpatrick always maintained that this sonata version carne before any orchestral version and believed that Ives was hiding the truth by calling this version an "arrangement from."

From the Steeples and the Mountains

Other title(s): Allegro: From the Steeples and the Mountains [see Work-list C]; Bells and Rocks Chime [see Quality List 2, p. 6a]; Bells and Rocks [see Quality List 5]. Medium: Tpt, tbn, 4 sets ofbells [ch or church bells]/2 pf(opt. tpt 2) Duration: 4 min., 48 rom. (Moderato [but see Other Title(s)])

065

160

OTHER CHAMBER WORKS

Moderato

.._____

tJ 0)

Bells 1- 2 orPf I

"'----

mp



pp

:

P;;,-----------u-----------u-----------~ mp

"'

...

.,.

_____

II~ ~

I ~lls3-4 or Pf 2

u pp

-

u

-

u

-

u

-

u

-

.,._

: pp

T pt

fPn-J

:

~

-

T~

Thn :::::::=,......

ppp

Source: I. Sketches, mostly pencil, some ink, with numerous marginal annotations, headed "From the Steeples-" and the probably unrelated memo "(a new sexton I telephone Smith' s," 6 pp. (12416-20, 3080). 2. Ink score by Copyist 18, made under George F. Robert's supervision and with his emendations, headed "From the Steeples," 7 pp. (12421 - 27). (see Comment) Date: Composed in 1901, according to lves; no date in the sources. An annotation at the bottom of a p. inS I (12417), "Mr. Price : Copy only Brass pa[ge]2- 7 & return Chas. Elves 65 Central P. W. NY," lists lves' s second Poverty Flat residence, 190 !- Sept 1907. Dated 190 I in pencil in Work-list C and thereafter typed as such into Work-lists D-G. AG: 1901 -?02. Publication: New York : Peer International, 1965 (score and parts for sale); based on S2. Premiere: First documented performance: Waltham, MA, 26 Apr 1963, by a student ensemble, cond. by Wayne Shirley, in an alllves concert presented by the Department of Music, Brandeis University. (Program in the CIP: VII/Box 51 /4.)

Peer ( 1965)

Second documented performance: New York City, 30 July 1965 by members of the New York Philharmonic, cond. by Lukas Foss, as part of a French-American festival. Reviewed by John Gruen, NY Herald Tribune (31 July 1965); Raymond Ericson, NY Times (31 July 1965), p. II. First recording : The American Brass Quintet, summer 1968 (issued 1969 by Nonesuch, H71222). Borrowing: Possible borrowing: Taps. Literature: KirkC: IC12 ; AG: w3 . Memos, 70-71 , !58; Tunebook, 200. BlockS: W45B2- 3, Bl40, Bl50, B235, B239, B252, B307, B550, B555, B585 . Hitchcock/Perlis 1977, I 00, 153- 54, 228, 230-31 ; Burkholder 1995, 273- 74; Swafford 1996, 162-63, 221; Lambert 1997b, 31 , 3335. Discography: Morgan 1974, 73 ; Cohn 1981 , 916; BlockS: 031 - 32. Comment : An annotation in lves' s hand at the end ofS2: "From the Steeples- the Bells!- I then the Rocks on the Mountains begin to shout!" The full title (in the version shown un-

161

Roberts undoubtedly wrote out a pencil score (now lost) for the guidance of Copyist 18 in producing S2.

der Other Titles above) appears for the first time pencilled onto Work-list C. In Memos (p. 7 I) I ves calls this his "church bell piece."

Fugue in B"

66.

OTHER CHAMBER WORKS 066

[inc.]

Medium: [Str qt] (see Comment) Duration: 50 rnm. extant ([no tempo heading]) Principal theme:

4b"a [r

J J

j

J I •·I JiJ

•r

J ~ IJ J

J J J Ia ] ex trapolated from MS (f3024)

Source: Pencil score in 4-stave systems, inc. (first page[s] missing, end is inc.), 4 pp. (f3023-26). Date: Composed possibly in 1893 or 1895; no date in the sources. KirkC: say 1895?. Publication: None.

Comment: The unlabeled 4-stave systems clearly imply the medium of str qt. This possibly could be the work mentioned in Ives's letter to George Ives, II Nov ?1893 [CIP: IliA/ Box 33/1]: "Your letter just received ... The 'Fence' was out this week, I will [send] Moss a copy. I am trying to finish up the ' fugue ' [?] now, which I began last winter. .. " ("Moss" is Ives's brother, Joseph Moss Ives II.)

Literature: KirkC: 2B2; AG: - .Memos, 183.

67.

Fugue in D

[mostly lost]

Medium: Str qt Duration : (see Source) ([no tempo heading]) [Principal theme:]

4f11 I E Wf J1b I:A U U IE ' j #f F IF

't

j

f #r

If F MS(f/484)

Source: I. Sketch of theme, 5 rnm., I p. (f7484). 2.Sketches(ofl8, 16,9, 16, 19, 12, 18, and 34 rnm.), 8 pp. (f3027-34). 3. Ink score, inc. (pp. 1- 8 of9 missing; last 9 rnm. only), I p. (f3035). Date: Composed possibly in 1893 or 1895; no date in the sources. KirkC: say 1895?.

Publication : None. Literature: KirkC: 2B3; AG: -.Memos, 183. Comment: This possibly could be the work mentioned in Ives's letter to George Ives, II Nov ?1893 [CIP: IJIA/Box 3311]: "Your letter just received ... The 'Fence' was out this week, I will [send] Moss a copy. I am trying to finish

162

068 OTHER CHAMBER WORKS

up the 'fugue' [?]now, which I began last winter ... " ("Moss" is Ives's brother, Joseph

Moss Ives II .)

Fugue in Four Greek Modes

68.

[inc.]

Other title(s): Greek Fugue in 4 Keys [see KirkC, p. 63] Medium: Str qt Duration : 8 mm. extant ([no tempo heading])

Dorian

Source: Sketch, inc. (mm. 1-8 only, on 2stave systems), headed "Greek (modes) Fugue," I p. (f3038).

MS (1'3038)

Literature: KirkC: 2B5; AG: - . Memos, 4950, 176n. CoweU 1955, 32-33. Comment: Ives gives the title adopted here in Quality List 2, p. 6a, #Ill : "Fugue for S Q in 4 Greek Modes." The sketch was begun on p. 2 of the sketch of A Song of Mory 's (y 19). I ves labeled the successive fugal entries "Phrygian," "Hyp[olydian]," and "Dorian."

Date: Composed possibly in 1897; no date in the source. KirkC: 1897?. Publication: None. Derivation: Adapted for the song Aeschylus and Sophocles [#206], mm. 1-8, str qt parts.

Fugue in Four Keys on "The Shining Shore"

69.

[inc.]

Medium : Fl, cnt, str [in Kirkpatrick realization] Duration : 4 min., 77 mm. (AUegro moderato) [in Kirkpatrick realization] Allegro moderato Vn l,Cnt

'fl

I

>

0)

"'f ::=-

Vn2 Va

>

:

mf ~

Vc > Db(Bba)

--==

mf

-=

>

::::==-

I

I

---===

J

>

~

I

rr >

J

-

r

7 I

~ ~I ::L '~ =-~

1-F >

.J. ~- J I

I

I

~ Merion ( 1975)

163

Source: 1. Pencil sketch on 4-stave systems, inc. (nun. 1-33 [26-33 rej. (upper 3 parts in 26-29 same as in S2)]), laid out for 4-part str, 1 p. (0036). 2. [Second] pencil sketches and patches in 2and 3-stave systems, mentioning org, str orch and cnt with "Comet" atm. 13, "Trumpet [or] Comet" at m. 58, and ''flute" at m. 59, 2 pp. (5563 [m. 1-36] & 0037 [m. 36 etc.]); a patch for nun. 29--33 is found in upper RH comer ofSl.

OlHER CHAMBER WORKS 070

cond. by James Sinclair, 13 Mar 1974 (issued in 1974 by CBS Masterworks, M-32969). Borrowing: AzMON, THE SHlNING SHORE. Literature: KirkC: 2B4 (renumbered as lClOa); AG: v9. Memos, 38, 49, 154; Tunebook, 190. BlockB: W20, Bl56, B307, B554, B561. Cowel11955, 32-33; Nicholls 1990, 7-9; Burkholder 1995, 80-81, 162--64. Discography: Oja 1982: 5322. (see Comment)

Date: Composed possibly c 1902; no date in the sources. In Work-lists B--G, Ives lists "Fugues for organ and strings 1892-1895"; in Memos (p. 38) Ives gives the date as 1896. KirkC: say 1895?; AG: 1897. (see Comment) Publication: Bryn Mawr, PA: Merion, 1975 (score and parts for sale); Ives Society critical edn [realization] by John Kirkpatrick. Premiere: First documented performance (Kirkpatrick realization): New Haven, CT, 3 Mar 1974, Yale Theater Orchestra, cond. by James Sinclair, in a concert oflves's music for theater orchestra given in Sprague Hall, Yale University, and sponsored by the School of Music in celebration ofthe Ives centenary. (Program, in CIP: VII/Box 52/2), does not list the performance ofthis work as a premiere.) First recording: Yale Theater Orchestra,

70.

Comment: This may be the work Ives referred to in Memos, p. 38: "The first serious pieces quite away from the German rule book were a Fugue for strings, or organ and violins, [in] four keys (1896), (though this was suggested

by a Fugal Song [Song for Harvest Season for] tuba, trombone, comet, voice--inC, F, B', E'-see Father's copy book)." Sl acknowledges "Comet" and "Organ or [str]"; S2 appears to be a work for str qt; Quality List 2 also describes this work as for "organ or strings." Kirkpatrick's realization calls for the str to divide, thus requiring a chmbr orch. The only other reference to instrumentation is in Memos, p. 38: "for strings, or organ and violins." In his critical edn, Kirkpatrick states: "Starting for string quartet this [work] soon became string orchestra with trumpet (or cornet), flute, and possibly organ (though no organ part is specified)."

The Gong on the Hook and Ladder or Firemen's Parade on Main Street

Other title(s): (see entry under #038) Medium: Pt; str (opt. gong/bell) Duration: 2 min., 35 nun. ([Allegro moderato])

070

164

OTHER CHAMBER WORKS

,A

[Allegro moderato]

Vn2

--.:r pizz.

Vc, Db A -o}

Pf

,--3---, -rJ

f A

~q~~~: :

A

~: :

ff A

~::

v

v

v

v

" "1: :: MS (f2661), ed. Sinclair

Source: Pencil sketch, headed "(Space or Duration) RHYTHM I MEASURE of this space=40," 3 pp. (f2661--63).

B. Sinclair in prep for Peer International.

Date: Composed perhaps c 1911 or as early as 1905 (when it might have been intended as part of the Pre-Second String Quartet) ; no date in the sources. Not listed individually in Work-list A, which contains general entries (with no individual titles specified) for "#21 Sets for Basset-Hom, Trumpet, Cornet or English Horn Solos, with small Orchestrassome called 'Cartoons' and 'Songs without Voices' From 1902 to 1917" and for "#24-Pieces for various small groups of instruments -strings, woodwind, etc.-a few with voice, some with choruses. From about 1904 to 1914." Subsequent work-list entries for this work are clearly for the orchestrated version but do cite an early date (here in Work-list B version, listed under Ives's group title): "Sets for various small groups of instruments or chamber orchestras (some with voice ad lib.). ALLEGRO MODERATO-'The Gong on the Hook and Ladder' 'Fireman's Parade on Main Street' ... (date uncertain) Some time before 1912." Memos (p. 61): "About this time, running say from 1906 (from the time of Poverty Flat days) up to about 1912- 14 or so, things like ... The Gong on the Hook and Ladder ... were made." KirkC: say 1911?; AG: ?1911.

First recording: Continuwn, June 1986 or Sept 1987 (issued in 1988 by Musical Heritage Society, MHS 512292Y).

Publication: Ives Society critical edn by James

Premiere: (see Comment)

Derivation: Apparently originally part of the lost Pre-Second String Quartet [#x672] (see Comment); arr. by Ives for orch as The Gong on the Hook and Ladder [#038]. In mm. 21 29 this piece uses the same pf part as in mm. 32-41 ofmvt v (Calcium Light Night) of Set No. I [#010] (the same material found in Three Jmprovisationsli [# 117]). Borrowing: Few Days, Marching Through Georgia, Oh, My Darling Clementine. Literature: KirkC: 1C30; AG: v28. Memos, 61,62, 73,90, 158; Tunebook, 194.BlockB: W31, Bl40, B239, B307, B547. Hitchcock/ Perlis 1977, 231-32; Mead 1981, 373, 374; Burkholder 1995, 343 (orch. version); Swafford 1996, 61 , 128. Comment: S1 is an str ens or str orch piece (with pf). Apparently Ives supplied to Carl Pagano a set of now lost photostat repros with orchestrational annotations and his indications on constructing the final 5 mm. from earlier material.

165

Memos, p. 73 implies that this piece was part of the plan for a now lost work: "The [Pre-Second String Quartet] is a series of short movements, each having its own theme. They were supposed to be related by contrasts, that is, related only by not being related ... Some of these were used later or turned into

71.

OTHER CHAMBER WORKS

071

other things, as songs, Hymn, etc. -Hal/owe 'en, Hook and Ladder." See the orch The Gong on the Hook and Ladder [#038] for further information. Continuum presented the premiere of this chamber ens version (date not established, apparently in the mid-1980s).

Hallowe'en

Other title(s): Allegro vivace: Hallowe'en [see Work-lists B-H] Medium : Str qt (vn 1-2, va, vc), pf(opt. b dr/timp or any dr) Duration : 2:30 min. (taking repetitions indicated), 18 mm. (Allegretto to Presto) Allegretto to Presto

.,.,, Vn I

Vn2

" "~~.

.., "

..,

-

H

....~

Va

..... :::-----._ "

-

~

....

~

--

~

"

....

---

~

.---'

~"~•f'.f'~

Allegretto to Presto ~-

f.

oJ

-

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:

Vc

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~

~

~

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Pf

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-

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bq..f ;;t Bomart/Mobart ( 1949)

Source: I. Pencil sketch, headed "'Halloween' (on the 1st of APRIL!)," I p. (f3063); patch, I p. (f3064); photostat repro of the sketch page (f3062). 2. Photostat repro of ink copy [by Victor van der Molen?], headed "Hallowe'en," 4 pp. (f3065-68); note to performers as postface on separate p. (f3069); this source probably was intended for use as mvt i of Set of Three Pieces for Small Orchestra. The original ink copy was at one time in the possession of Carl Ruggles.

Date: Composed possibly on I Apr 1907, perhaps revised in 1911. No date in the sources except for "I st of April"; after the photostat repro ofSI was made, Ives added "Pine Mt" to the heading in the MS [he spent weekends at Pine Mountain beginning 190 I; I Apr I 906 was a Sunday but the paper ofSI was not available untill907). Dated 1911 in Work-lists B-H. KirkC: I Apr 19ffl? surely 1906; AG: I Apr I906. Publication: I. New York: Bomart Music Publications,

071

OTHER CHAMBER WORKS

1949 (score and parts for sale). Assigned 1978 to Mobart Music Publications. 2. Ives Society critical edn in preparation for Mobart.

Premiere: New York City, 22 Apr 1934, by an unidentified chamber orchestra, cond. by Albert Stoessel, in a concert of music and dance (with Martha Graham and Group) at the Alvin Theater, sponsored by the Pan American Association of Composers. The lves works, performed as an instrumental interlude, included The Pond and The Gong on the Hook and Ladder, all apparently for the first time. (Concert announcement and program in the CIP: VII/Box 50/4.) Second documented performance: San Francisco, 28 May 1934, by an unidentified ensemble (according to BlockB, p. 24, the "Stringart String Quartet") in a concert of music and dance (with the Betty Horst Concert Dance Group) at the Community Playhouse, directed by Henry Cowell and sponsored by the New Music Society of California. (Program in the CIP: VII/Box 50/4; repr. in Mead 1981, p. 285.) Reviewed by Alexander Fried, SF Chronicle (29 May 1934). First recording: The Polymusic Chamber Orchestra, cond. by Will Lorin (under the name "Vladimir Cherniavsky"), summer 1951 (issued in 1951 by Polymusic Records, PRLP1001). Derivation: Used as mvt i of Set of Three Pieces for Small Orchestra [#x658] and intended as mvt i of Three Outdoor Scenes [#x644]. Literature: KirkC: 2Bl3; AG: wll. Memos, 73, 90--91, 108n2, 157. See also correspondence with Arthur Cohn (CIP: IliA/Box 27/12, n.d. [reply to 20 July 1935]), and the Fleisher

166

Collection (CIP: IIIB/Box 34/8, n.d. [reply to 23 Mar 1944]). BlockB: W51, B2, B92, B97, B140, B252, B307, B378, B411, B413, B419, B582, B585, B601. Cowell1955, 65; Rossiter 1975, 151, 164; Hitchcock!Perlis 1977, 255; Mead 1981,28490; Feder 1992, 189; Burkholder 1995, 228, 295; Lambert 1997b, 62--65, 137.

Discography: Hall1964/l, 146; Morgan 1974, 73-74; Cohn 1981, 909; BlockB: D3, Dll. Comment: Originally published by Bomart as if it was mvt i of Three Outdoor Scenes, the intended others being The Pond and Central Park in the Dark; Bomart did not carry through identifYing the collective title when it, after long delay, published the other two pieces. The group title is given by lves only in his work-lists, and is probably not from earlier. John Kirkpatrick, in an unpublished commentary to his realization of the first state of Hallowe 'en, suggests also that the work may have been intended "to fit between the two pieces of 1906 for string quartet and piano called Largo Risoluto." Kirkpatrick's conjectural realization attempts to distinguish between "its earlier state ( 1906, simpler) and the later states (perhaps as late as the 1930s, full of added dissonance)." A final measure (a IV-I cadence) in Sl (f3063), not in the 1949 Bomart publication, has some interesting memos related to it: "conductor beat I no sound here !last [m.] I ad lib. I or MEN'S Voices only I or Nothing I but fiddles I hold bows I as [if] about I to play I then stop I or sing!" Quality List 2 has: "#82- (5 negatives)Orchestral parts 'Halloween'"; this indicates that a now missing set of performance parts existed before 1934 (undoubtedly the set used at the premiere).

167

72.

OTHER CHAMBER WORKS

072

In Re Con Moto et al.

Other title(s): Studies in Space, Pulse, Phrase, Accent, Rhythm [see Quality List 2; see Comment] Medium: Str qt, pf, dr (Roberts version omits dr part; see Comment) Duration : 3 min., 61 mm. (As fast as it can be played)

Peer (1968)

Source: I. Pencil sketch, headed "lntro. II," 4 pp. (f3151-54); p. [2] (f3152) is a photostat repro on which I ves made annotations. 2. Fragment of ink score (mm. 42-47 only), I p. (f3155). 3. Photostat repro oflost ink copy by Copyist 18, made under George F. Roberts's supervision, 16 pp. (f3156-71).

and Joel Sachs directors), in an all-lves concert at McMillin Theatre, Columbia University. (Concert announcement in the CIP: VII/Box 51/8.)

Date: Composed probably in 1913. Annotation on p. [I] ofS I: "Mr Greinert Copy only from [triangle with a dot in the middle] will come up Monday about 5 & explain Chas E lves 37 Liberty" [Ives' s business address I Jan 1909-31 Jan 1914]. Annotation at the end of p. [4] ofSI : "Hartsdale NY Apr 13 1913." Work-list G has "1908." KirkC: [in pencil:] 1913. AG: 1913.

Derivation: None. (In Quality List 2, lves writes that In Re Con Moto et a/. was "used partly in 2nd Movement, 3rd Orchestral Set" but no appreciable connection can be seen between the works.)

Publication: New York: Peer International, 1968 (score and parts for sale). Premiere: First documented performance: New York City, II Feb 1970, by members of the Performers' Committee for TwentiethCentury Music (Cheryl Seltzer, Peter Perrin,

First recording: Paul Zukovsky (vn), Romuald Tecco (vn), Jean Dupouy (va), Timothy Eddy (vc) and Gilbert Kalish (pf), 25 May 1970 (issued by Columbia Records, M-30230).

Literature: KirkC: 2BI8; AG: w20. Memos, 63, 70-71, 101, 108n2, 157. BlockB: W56, Bl40, B307, B378, B585. Rossiter 1975,9899; Lambert 1990b, 70-75; Swafford 1996, 179, 221, 225, 235-36; Lambert 1997b, 13233, 177-78. Discography: Morgan 1974, 74; Cohn 1981, 916; Oja 1982:5346. Comment: The subtitle in the copy by Copyist

073

168

OTHER CHAMBER WORKS

18 (not repr. in the publication itself): "An etude, - not a nice piece for string quartet and piano." What may be S1 for this work is listed in Quality List 2 as item #64: "(I negative) Marked on margin- 'Studies in Space, Pulse, Phrase, Accent, Rhythm'- for String Quartet and Piano (incomplete, used partly in 2nd Movement, 3rd Orchestral Set)"; the title also appears as item #116: "Studies in rhythm, time duration, space, pulse, metre, accent, together and in various ways--called 'IN RE CON MOTO ET AL. "' The work also appears to be item #216, in vol. 3 of Quality List 6a: "Con Moto 16 p.," which would correspond to the

73.

number of pp. of the Copyist 18 score (S3) above; this would date the copy as before summer 1935. The heading "II" on p. I ofSI (f3051) raises the possibility that this was a second mvt in some grouping, most likely surrounded by the two Largo Riso/uto (perhaps in a set that drew together these and Hal/owe 'en, all of which share the medium ofpf qnt). On S2 (f3152) Ives writes: "(personally I wouldn't have drum part I played except at rehearsal[-]listeners ought to be able to I be able to keep time fundamentals in mind."

Largo for Violin, Clarinet, and Piano

Medium : Vn, cl, pf Duration : 5 min., 62 mm. (Largo) Largo

16 Andante

'll_

It

Vn

oJ

mp Cl

,.," mp

~-

_fl_

.., Pf

r

pp

,.-.

., ....

;::;:::;:::,

;::;:::;:::, ,....

Southem!Peer ( 1953). ed. Masse

Source: I . See sources for Pre-First Sonata for Violin and Pianolrej. ii. 2. Photostat repro of p. I of ink score for PreFirst Sonata for Violin and Pianolrej . ii, with Ives' s markings for incl. cl with vn and pf, I. p (f7795). 3. Ink copy by Copyist 18, made [before 1935] under George F. Roberts' s supervision, with one emendation by Ives (m. 33), headed "Largo," 4 pp. (f3040-43); this source was probably intended for use as mvt i of Set of Three

Pieces for Chamber Ensemble, No. I . 4. Negative photostats ofS3 with corr. in white ink carrying out all but one oflves' s corr. on S5, 4 pp. (f8079- 82). 5. Photostat repro ofpp. 2-4 ofS4 (earlier state before white ink corr.) on which Ives made emendations (f3044, 7793-94). Date: Arranged possibly in 1907 or 1934 (see Comment) from music composed in 1901 , according to lves; no date in the sources. Work-lists B-H include this work under "Sets

169

OTHER CHAMBER WORKS 073

for various small groups of instruments or chamber orchestras (some with voice ad lib.): LARGO--Violin, clarinet and piano. 1901." KirkC: arr. 1902?; AG: ?1902.

Discography: Hall1964/l, 144; Morgan 1974, 74-75; Cohn 1981, 914; Oja 1982: 5354, 5355, 5356, 5357; BlockB: D30, 03334.

Publication: 1. New York: Southern Music Publishing Co., 1953 (score and parts for sale). Copyright assigned in 1979 to Peer International. 2. Ives Society critical edn by Thomas Masse in prep. for Peer International.

Comment: KirkC guesses that this adaptation dates from 1902 but the paper type for the ink copy for the version for vn and pfwas available starting only in 1906. The adaptation to cl trio could have followed the rejection of this music as a mvt for the Pre-First Sonata for Violin and Piano. Citing the entry in Work-lists B-H (listed separately from that cited above within Date) "TRIO--Violin, clarinet and piano. About 1902--03", KirkC and AG maintain that this Largo was part of a multi-mvt, now lost Trio for Violin, Clarinet, and Piano composed (or planned) shortly after the rejection of the original mvt ii of the Pre-First Sonata for Violin and Piano. No substantial evidence has appeared for the multi-mvt work. Ives's first mention of the Largo as a trio is in Work-list B (after 1935, possibly 1937) where it appears first in a series of three pieces which apparently were intended to appear as a set (catalogued here as the projected Set ofThree Pieces for Chamber Ensemble, No. 1). The defining of this set may well have been the motivation for the adaptation of the Largo to include cl. On 22 Jan 1935 Nicolas Slonimsky wrote to Ives "I wish I could get a copy of your piece for Violin, Clarinet and Piano (was it Largo?) ... It think Henry ought to publish this in his regular edition, along with some other compositions for a small ensemble from your early works" (CIP: IliA/Box 32/4). Lou Harrison indicates what may be the first performance, in a letter, n.d. [postmarked 16 Feb 1937], to Ives: "I am pleased to tell you that three enthusiasts, a clarinetist, a violinist, & a pianist, want to do the Largo in the 4th book of Chamber Music on March 22nd in Berkeley." The date must have been moved as indicated in Harrison's next letter, n.d. [postmarked 23 Mar 1937]: "We all want to thank you for your kindness in sending the scores [Ives sent more scores to Harrison]. The work [Largo?] is being rehearsed and we are very fond of it. It will be played in April, along with

Premiere: Possible first documented performance (see Comment): New York City, 10 May 1951, in a concert of chamber music at McMillin Theater, Columbia University presented by the New Music Society. Other Ives works performed, apparently for the first time, were Allegretto sombreoso (from Set No. I for chmbr orch) and Luck and Work (from Set No. 3 for chmbr orch). (Concert announcement, listing the work only as "Largo," in the CIP: VII/Box 51/1.) Second documented performance: Minneapolis, MI, 29 May 1955, by unidentified performers in a Sunday service at the First Unitarian Society of Minneapolis entitled "Charles Ives (A Musical Sermon)." (Program in the CIP: VII/Box 51/1.) First recording: David Weber (cl), Elliot Magaziner (vn) and Frank Glazer (pf), summer 1951 (issued in 1951 by Polymusic Records, PRLP-1001). Derivation: Arranged from the rej. mvt ii of the Pre-First Sonata for Violin and Piano [#059] which mvt itself developed from the lost ver-sion Largo for Violin and Organ [#x666]; possibly once a mvt of the lost Trio for Violin, Clarinet, and Piano [#x678]. Literature: KirkC: 2B8; AG: w5. Memos, 33n4, 67n2, 156, 157n. See also correspondence with Lou Harrison (CIP: IliA/Box 30/2, n.d. [16 Feb 1937] and n.d. [23 Mar 1937]), and Edith Sagul (CIP: IliA/Box 31/14, 15 Mar 1951). BlockB: W46, B2, B150, B585 B597, B623.

074 OTHER CHAMBER WORKS

a suite for the same instruments which I made for the occassion [sic], for the Violin Club in Berkeley... " Edith Sagul's letter, 15 Mar 1951, states that "I have scheduled a broadcast performance [by the Sagul Trio] of the 'Largo' for May 3rd, at 10 p.m. on Station WABF ... " There is a question concerning the first performance. John Kirkpatrick added a note in pencil to the concert announcement in the CIP:

74.

170

"not mentioned in the review in Musical America, 71/8, p. 18. Not performed as announced?'' Kirkpatrick then drew an arrow pointing to Allegretto Somreroso [sic; it is misspelled this way in the announcement], and queried: "Not given?'' There is no mention, in an otherwise detailed review, in the NY Herald review of II and 12 May 1951. No actual program for this concert has been located.

Largo Risoluto No. 1

Other title(s): Prelude & Statement (of the law of diminishing returns (in economics (and Tennis!) [see f3070]; As to the Law of Diminishing Returns, etc. [see f3078]. Medium: Str qt (vn 1-2, va, vc), pf Duration: 3 min., 26 mm. (Largo risoluto)

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Source: I. Pencil sketches, 4 pp. (f3070, 3072-74); photostat repro of the first sketch p. on which Ives made annotations (f3071). 2. Ink copy by Copyist 18, made under George F. Roberts's supervision and with a few emendations by Ives, headed "Largo Risoluto No. 1," 4 pp. (f3075-78). Date: Composed possibly in 1906; no date in the sources. KirkC: before +967 1906?; AG: 1906. Publication: I. New York: Peer International, 1961 (score

f Peer (1961 ), ed. Lambert

and parts for sale). 2. Ives Society critical edn by Philip Lambert in prep for pubn by Peer.

Premiere: Washington, DC, 4 May 1958, Kohon String Quartet (Harold Kohon [vn 1], Raymond Kunicki [vn 2], Paul Bellam [va], Richard Kay [vc]), with Isabelle Byrnan (pt), in an ali-Ives program of chamber music, given in the East Garden Court of the National Gallery of Art as the first concert of the Fifteenth American Music Festival. Also performed for the first time was Largo Risoluto No. 2 (Program, listing both works as "first performance," in the CIP: VII/Box 51/1.)

171

Second documented performance: New York City, 19 Feb 1965, Kohon String Quartet in a concert at Town Hall. Other lves works performed were Largo Risoluto No. 2 and, for the first time, the Scherzo: Holding Your Own for str qt. Reviewed by "T.M.S.," NY Times (20 Feb 1965), p. 16.

OTHER CHAMBER WORKS

075

March "1776" [#024] .

Literature: KirkC: 2BI4; AG: wl2. Memos, 63 , 108n2. BlockB: W52, W52a, B2- 3, Bl40, B307, B585, B602. Lambert 1990a, 139; Lambert 1990b, 45-46; Lambert 1997b, 130. Discography: Morgan 1974, 74-75 ; Cohn 1981, 916; Oja 1982: 5358 .

First recording: Paul Zukofsky (vn), Romuald Tecco (vn), Jean Dupouy (va), Timothy Eddy (vc) and Gilbert Kalish (pf), 22 May 1970 (issued in 1970 by Columbia Records, M-30230).

Comment: Another work for str qt and pf, In Re Con Moto eta/., is headed "II" on p. I of its S I (f3051 ); this raises the possibility that it was a second mvt surrounded by the two Largo Risoluto (perhaps in a 4-mvt set that drew together these and Hal/owe 'en, all of which share the medium of pf qnt).

Derivation: Mrn. 3(beat 3)-9 are closely related to Scherzo: Over the Pavements [#082] (rnrn. 73- 80); rnrn. 24-25 are taken from the str parts, rnrn. 41-42, of the Overture and

Largo Risoluto No. 2

75.

Other title(s) : Silhouette (or "Making a Shadow!") [see f3074]; A Shadow Made-A Silhouette [see f3083]; Largo Risoluto No.3 [see AG, p. 512] . Medium : Str qt (vn 1-2, va, vc), pf Duration: 2 min. , 29 rnrn. (Largo risoluto)

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Source: I. Fragmentary pencil sketches, 5 pp. (f3113, 3119, 3124--26); draft for a t.p. "Trio Yalensia & Americana-for Violin Cello and Piano" (f3128). 2. Pencil score [ 1911 ?], continuous, of all three mvts: i, pp. 1-3 (f3111 - 12, 3114); ii, headed '"TSIAJ' (or Medley on the Fence) & Campus!)," pp. 3-9 (f3114-16, 3118,312022); ill, numbered as pp. 1-10 (f3127, 312937); photostat repro ofii, p. 6 (f3117) and p. 9 (f3123), the latter with emendations by Ives. 3. Two sets of photostat repro ofS2 on which Ives made emendations: set I (lacking p. 7 of ii), 18 pp. (f7646-63); set 2 (lacking iii), 9 pp. (t7664-72). 4. Photostat repro of mvt i from lost ink copy by George F. Roberts, on which lves made emendations, 6 pp. (f7721 - 26). 5. Ink copies by Copyist 18, made under George F. Roberts's supervision, ofmvt ii, with emendations by Ives, 22 pp. (f76997720), and iii, 13 pp. (f7673-85). 6. Two sets of photostat repro ofS5, mvt iii only, on which Ives made emendations; set I (t7686-98); set 2, with emendations on pp. I , 3-4, 12- 13 (f3138-50). Date: Revised probably in 1911 and again cl914 from music composed possibly in 1896 and 1904--07. Mvt ii: An annotation in S2, p. 5

(f3116): "New Haven June '04"; annotation at the bottom ofp. 6 (f3118): "Mr. Price-only V & B parts to copy .. . 70 W II Spring 445" [lves's residence, 25 June 1908- 2 May 1911]. Mvt ill: Annotation in S2, p. 7 (f3134): "copy only V & C parts to here & return 65 C. P. West" [Ives's second Poverty Flat residence, 190 1-Sept 1907]. Work-list G : "Trio-violin, cello and piano 1904--1911." Ives's letter draft to John Wolaver at Baldwin Wallace College, 22 April 1948, regarding the premiere: "It was composed mostly in 1904 but fully completed in 1911 . Mr. Ives doesn' t think it was ever played in a public concert- but it was in a private concert in New York some 30 years ago." AG: 1904-11. Publication : I. New York: Peer International, 1955 (score and parts for sale); edn based on uncorr. photostats of the copyists' scores. 2. New York: Peer International, 1987; lves Society critical edn by John Kirkpatrick (score and parts for sale). Premiere: Berea, OH, 24 May 1948, BaldwinWallace College Faculty Trio (George Poinar [vn], Esther Pierce [vc] , John Wolaver [pf]), in a chamber-music recital in the Kulas Musical Arts Building of the Baldwin-Wallace Conservatory of Music. (Program in the CIP: VII/

186

087 PIANOSONATAS

Box 50/8.) First recording: Nieuw Amsterdam Trio, 26-27 Oct 1965 (issued in 1966 by Decca, DL-710126). Derivation: Mvt ii: m. 204 used in pf Study No. I8: Sunrise Cadenza [#102]. Probably also once listed as a mvt ("Undergraduate") of the mostly lost orch Set of Cartoons or Take-Offs [#x651]. Mvt iii: Portions derived from the song The All-Enduring [#209] (mm. 13-40 from mm. 7-34 of the song; mm. 91-113 from mm. 4668, mm. 114--125 frommm. 71-82). Borrowing: Mvt ii: A Band of Brothers in DKE, The Campbells are Comin ',Dixie's Land, Few Days, FOUNTAIN, The Gods of Egypt Bid Us Hail!, Hold the Fort, How Dry I Am (HAPPY DAY), Long, Long Ago, Marching Through Georgia, My Old Kentucky Home, Pig Town Fling, Reuben and Rachel, Sailor's Hornpipe (College Hornpipe), Saint Patrick's Day, SWEET BY AND BY, Ta-ra-ra Boom-de-ay, That Old Cabin Home upon the Hill; David Wallis Reeves: Second Regiment Connecticut National Guard March. Possible borrowing: Freshmen in Park (variant of The Worms Craw/In). Mvt iii: TOPLADY.

Literature: KirkC: 2B17; AG: w9. Memos, 40n2,42n2, 71, 158; Tunebook,200-0!. See also correspondence with Sidney Cowell (CIP: IIINBox 28/8, 11 Apr 1954) and BaldwinWallace faculty trio (CIP: IIIB/Box 34/5, 22 Apr 1948 and n.d. [ 18 May 1948]). BlockB: W49, W49a, B2-3, BIOS B196, B244, B252, B295, B314, B585, B598--600, andp. 6. Perlis 1974, 186 (George F. Roberts); Hitchcock/Perlis 1977, 53, 84--85, 153-54, 249; Rathert 1989 [MQ], 579-84; Feder 1992, 189 (ii); Burkholder 1995, 225-26, 228, 24041, 373-74; Swafford 1996, 127-28. Discography: Morgan 1974, 74--75; Cohn 1981, 914; Oja 1982:5515,5516,5517,5518. Comment: Mvt ii title, "TSIAJ" is on S2 (f3119, which is verso ofp. 6): "This Scherzo Is A Joke The Gods of Egypt I Bid Us Hail! I Tom? who's this?" The tune name refers to the anthem (mm. 178--87, pt) of the Wolfs Head senior-year secret society (Ives was a member in 1897-98; "Tom" is undoubtedly Thomas S. McLane, president ofthe society in Ives's year). On Sl (f3128) Ives writes an extended version of the additional title: "Trio for Violin I Cello I Piano - I Yalensia & Americana I Fancy Names I Real Name = I Yankee jawsat I Mr (or Eli) Yale's School I for nice bad boys!!"

IV: WORKS FOR PIANO

A: SONATAS 87.

Sonata No. 1 for Piano

Medium: Pf Duration: 36 min. (30:30-41 :30 min.)

186

087 PIANOSONATAS

Box 50/8.) First recording: Nieuw Amsterdam Trio, 26-27 Oct 1965 (issued in 1966 by Decca, DL-710126). Derivation: Mvt ii: m. 204 used in pf Study No. I8: Sunrise Cadenza [#102]. Probably also once listed as a mvt ("Undergraduate") of the mostly lost orch Set of Cartoons or Take-Offs [#x651]. Mvt iii: Portions derived from the song The All-Enduring [#209] (mm. 13-40 from mm. 7-34 of the song; mm. 91-113 from mm. 4668, mm. 114--125 frommm. 71-82). Borrowing: Mvt ii: A Band of Brothers in DKE, The Campbells are Comin ',Dixie's Land, Few Days, FOUNTAIN, The Gods of Egypt Bid Us Hail!, Hold the Fort, How Dry I Am (HAPPY DAY), Long, Long Ago, Marching Through Georgia, My Old Kentucky Home, Pig Town Fling, Reuben and Rachel, Sailor's Hornpipe (College Hornpipe), Saint Patrick's Day, SWEET BY AND BY, Ta-ra-ra Boom-de-ay, That Old Cabin Home upon the Hill; David Wallis Reeves: Second Regiment Connecticut National Guard March. Possible borrowing: Freshmen in Park (variant of The Worms Craw/In). Mvt iii: TOPLADY.

Literature: KirkC: 2B17; AG: w9. Memos, 40n2,42n2, 71, 158; Tunebook,200-0!. See also correspondence with Sidney Cowell (CIP: IIINBox 28/8, 11 Apr 1954) and BaldwinWallace faculty trio (CIP: IIIB/Box 34/5, 22 Apr 1948 and n.d. [ 18 May 1948]). BlockB: W49, W49a, B2-3, BIOS B196, B244, B252, B295, B314, B585, B598--600, andp. 6. Perlis 1974, 186 (George F. Roberts); Hitchcock/Perlis 1977, 53, 84--85, 153-54, 249; Rathert 1989 [MQ], 579-84; Feder 1992, 189 (ii); Burkholder 1995, 225-26, 228, 24041, 373-74; Swafford 1996, 127-28. Discography: Morgan 1974, 74--75; Cohn 1981, 914; Oja 1982:5515,5516,5517,5518. Comment: Mvt ii title, "TSIAJ" is on S2 (f3119, which is verso ofp. 6): "This Scherzo Is A Joke The Gods of Egypt I Bid Us Hail! I Tom? who's this?" The tune name refers to the anthem (mm. 178--87, pt) of the Wolfs Head senior-year secret society (Ives was a member in 1897-98; "Tom" is undoubtedly Thomas S. McLane, president ofthe society in Ives's year). On Sl (f3128) Ives writes an extended version of the additional title: "Trio for Violin I Cello I Piano - I Yalensia & Americana I Fancy Names I Real Name = I Yankee jawsat I Mr (or Eli) Yale's School I for nice bad boys!!"

IV: WORKS FOR PIANO

A: SONATAS 87.

Sonata No. 1 for Piano

Medium: Pf Duration: 36 min. (30:30-41 :30 min.)

187

PIANO SONATAS 087

Movements: i. Adagio con moto-Andante con moto-Allegro risoluto-Adagio cantabile (9 min., partly unbarred [I 03 mm. in the 1979 corrected Peer publication)) Adagio con moto fl

r.h.

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p

r.h.

f~

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Peer ( 1979). corr. 1990

ii". Allegro moderato-Andante (I :30 min., 57 mm.)

Peer ( 1979), corr. 1990

iib. Allegro-Meno mosso con moto (4 min., 128 mm.). Subtitle: In the Inn Allegro

"

Peer (1979), corr. 1990

iii. Largo-Allegro-Largo (7:30 min., 71 mm.) piU mosso

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Peer(l979), corr. 1990

188

087 PIANO SONATAS

iv•. [no tempo heading] (1 :15 min. , 51 mm.)

Peer ( 1979), corr. 1990

iv b. Allegro- Presto- Slow(3 :15 min. , 161 mm.)

Peer ( I 979). corr. I 990

v. Andante rnaestoso- Adagio cantabile-Allegro--Andante (II min., partly unbarred [229 mm. in the 1979 corrected Peer pubn]) r---J~

Andante maestoso

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Source: i. Adagio con moto-Andante con moto--cadenza- Allegro risoluto--Adagio cantabile I . Sketches in pencil and ink: t.p. "I " (f3678); 17 pp. (f3679- 95). 2. [First] ink score: t.p. "Piano Sonata #'1: I I 1st Movement I 1," and written below "37 Liberty St. 38 Nassatt St." (f3696); blank p. [verso of the t.p.] with "see ink copy in safe 37 Liberty" (f3697); 18 pp., headed "I" (£36983715). 3. [Second] ink score: t.p. "I" (f3716) ; II pp., headed " I " (f3717- 27); patches, 5 pp. (f372832).

u•. Allegro moderato- Andante (see Comment) I. Pencil sketch, 2 pp. (f2450--51 ); patch, I p. (f2449). 2. Ink sketch, 4 pp. (f2469-72).

iib. Allegro--Meno mosso con moto ("In the Inn") (see Comment) I. Pencil sketch, 3 pp. (f2452- 54). 2. Ink sketch, 5 pp. (f2464-68). 3. Ink score: t.p. "II" (f3733); 6 pp. (f373439); patch for mm. 42-44, I p. (f3740). 4. Ink copy by Emil Hanke, only p. 5 of 5 survives (f3741); complete copy in photostat repro, 5 pp. (f3742-46).

189

5. Two sets of photostat repro ofHanke's copy with annotations by Ives, 5 pp. each (f3747-51, 3752-56) [set 1 has addenda by Ives in red ink, black ink and pencil, and engraver's markings in pencil]; photostat of p. 1 ofthe mvt ii insert in the New Music pubn of Set for Theatre Orchestra, with title changed from "II" to "II.B" (f3757). (f3758-64=photostats ofmvt ii insert in the New Music pubn, pp. 2-8.)

iii. Largo-Allegro-Largo 1. Sketches, headed "III," 11 pp. (f3765-75). 2. [First] ink score: t.p. "Piano I Sonata# 12 1 l3rd movement I III Ill min" (f3776); 13 pp., headed "III" (f3778-90); patch, 1 p. (f3777). 3. [Second] ink score: t.p. "III ICE IVES I Hartsdale NY I or 37 Liberty St I New York City" (f3791); 8 pp., headed "III" (f3792-99).

iv". [-] Sketch, 1 p. (t2461). ivb. Allegro-Presto (see Comment) 1. Pencil sketch, 3 pp. (t2458-60). 2. Ink sketch, 6 pp. (t2475-80); patches, 6 pp. (f3693, 3800--03, 3850). v. Andante maestoso-Adagio cantabile-Allegro (allegretto)-Andante 1. [First?] sketch, in ink and pencil: t.p. "1st Sonata IV list theme & development... " (f3804); 12 pp., headed "IV" (f3805-16); a positive photostat repro shows p. 5 (f3817) combined with an otherwise unidentified fragment (chords labeled "Mountain Calls"; f7573). 2. Other pencil sketch pp. and patches, 14 pp. (f3818-31). 3. Ink score: t.p. "IV 14th movement list Piano Sonata I Chas. E IVES I West Redding I Conn" (f3832); 13 pp., headed "IV" (f383345); extra ink pp. and patches supplementing the ink score, 5 pp. (f3846-50). Complete work Bound photostat copy, with Ives's pencilled emendations on almost every page, 48 pp. (f3851-99); this emended copy was assembled by Ives from various source materials as fol-

PIANO SONATAS

087

lows: i (S3, f3717-27), ii" (S1, f2450-51), jjb (S4, f3742-46), iii (S3, f3792-99), iv" (t2461), ivb (S2, t2475-80, 2446), v (S3, f3833-45).

Date: Assembled or revised perhaps as late as 1919; incorporates music composed 1901--09, according to Ives. Mvt iv" was probably the last new music to be added, but mvt v caused particular problems and was revised in 191417, according to Ives (but the surviving first sketch is on paper available no earlier than 1917). At the bottom ofmvt i, S2 (f3698): "1st Pia. Sonata I I 1902--091 II 1902-10 I III [blank] I IV - '04-8 I v [blank] I all copied 1910." In a letter to Henry Bellamann, 4 July 1921, Ives writes: ''The first piano sonata which you kindly ask about, was written about 6 or 7 years ago" (the pencil draft for this letter originally stated: "about 7 or 8 years ago," but the numbers were crossed out and replaced by "6 or 7"). (see Comment) Mvt i: An annotation at the top of the second p. ofSl (f3680): "Pine Mt. Aug 4---01." At the bottom of the last p. ofS3 (f3727): "1st movement -1st Piano Sonata I (1902--09) I CE IVES. 137 Libctty St. I NY I to Ives & Myrick 146 Cedar St I NY." MS Work-list 3 has "before 1909." AG: 1901--09. Mvt ii: MS Work-list 3 has 1902. Mvt ii": AG: 1902-?08; mvt iib: AG: 1902-?08. Mvt iii: MS Work-list 3 has 1902-1909. AG: 1902-9. Mvt iv: MS Work-list 3 has 1903-1904. Mvt iv": AG: ?1909; mvt ivb: AG: 1902-?08. Mvt v: Under a draft for a t.p. (S2, f3818): "Started the same time the score t[o] 3rd Symphony I and copied I about June 1910-l [revised] movement in 1914-71 Ragtime 19021 [ragtime mvts in] 1907-11." Ives added dates and addresses on other sketch or patch pages as follows: mvt v, S2 (at bottom off3822): "Ended fine! Jan 2119081125 Woodland St I H'fCt"; and (at bottomoff3823): "1906-710 Finet." MS Work-list 3 has "Jan. 2, 1908 at Hartford." AG: 1905--08. PubUcation: 1. Mvt iib: as an insert in Set for Theatre Orchestra, San Francisco: New Music, vol. 5/2, January 1932.

087 PIANO SONATAS

2. New York: Peer International, 1954; ed. by Lou Harrison and William Masselos. 3. New York: Peer International, 1979; corrected edn by William Masselos and Lou Harrison with list of sources by Paul C. Echols. 4. New York: Peer International, 1990; further corr. to above edn as supplied by John A. Buchanan, Jerry E. Bramblett and James B. Sinclair. Premiere: New York City, 17 Feb 1949, William Masselos in a recital at Kauffinan Hall, Y.M.H.A. (see Comment). Reviewed by "P. G.-H." [Peggy Glanville-Hicks], NY Herald Tribune (18 Feb 1949), p. 18.

First recording: Complete work: William Masselos, I Dec 1950 (issued in 1953 by Columbia Records, ML-4490). First recording of mvt jjb ("In the Inn"): John Kirkpatrick, 9 Apr 1945 (issued in 1948 by Columbia Records, set MM-749). Derivation: Mvt i: Based in part on the lost org Recital Piece for Organ [x703] (see Comment). Mvt u•: Incorporates no. 2 (S3 & 4) of Four Ragtime Dances [#043]. Mvt jjb; Reworked from no. I (S3) of Four Ragtime Dances [#043]; further developed and orchestrated as mvt ii (In the Inn) of Set for Theatre Orchestra [#020]. Mvt iv•: Mm. 36-47 resemble material in Take-Off No. 3: Rube Trying to Walk 2 to 3!! [#085] (and its derivatives, Scherzo: Over the Pavements [#082] and Study No. 23 [#107]). Mvt ivb: Incorporates no. 4 (S2 & 3) of Four Ragtime Dances [#043]. Mvt v: Partly adapted for or from (probably the latter) mvt iv (Scene Episode) of Set of Five Take-Offs for pf[#I22]; nun. 180-81 borrow from Study No. 22 [#106] (mm. 1617). Borrowing: Mvt i: LEBANON, WHERE Is MY WANDERING BoY? Mvt u•, jjb; BRINGING IN THE SHEAVES, HAPPY DAY, WELCOME VOICE. Mvt iii: ERIE.

190

Mvt iv•: WELCOME VOICE. Mvt ivb: BRINGING IN THE SHEAVES, HAPPY DAY, WELCOME VOICE. Mvt v: LEBANON. Possible Borrowing: Home! Sweet Home! Literature: KirkC: 3AI; AG: x17. Memos, 57, 74-76, 94n, 150, 156, 240nl6, 255; Tunebook, 204-05. See also correspondence with [Jean?] Behrend (CIP: IIINBox 27/3, n.d. [c1938]), Henry Bellamann (CIP: IIINBox 27/8], 4 July 1921), Lou Harrison (CIP: IIIN Box 30/2, n.d. [24 July I 946] and 9 Aug I 946), E. Robert Schmitz (CIP: IIINBox 31115, n.d. [reply to 4 Oct 1923]), and Misc. (CIP: IIIC/Box 37/1, n.d.). BlockS: W64, W64a-d, B114, B131, B155, BI60,B170,B185,B252-53,B284,B28687, B295, B346, B365, B378, B633, B643, B644, B646-47 (excerpts of reviews are pub!. in Burkholder 1996, 350-51 ), B648-59; see also B121, Bl87, B226, B635-37, B641. Perlis I 974, 203 (Lou Harrison); Rossiter 1975,99-100,166,236,251,265,296,310, 338n21; Hitchcock/Perlis 1977, 19, 80-84, I 48, I 71-72; Masselos 1984; Burkholder 1995, 187-93,212-14,243-44,276-77; Swafford 1996, 152, 164, 165--67, 168, 179, 233,257,318,320,337,351,425. Discography: Hall 1964/2, 102; Morgan 1974, 75; Cohn 1981, 911; Oja 1982: 5447; BlockS: D47-53. Comment: On p. 7 ofmvt i S3 (t3723) Ives wrote a note explaining the program of the work: "what is it all about-Dan S asks. I mostly about the outdoor life in Conn. villages in '80s & 90s. I Impressions, Remembrances, & Reflections, of Country Farmers in Conn. Farmland I On pg 14 hack Fred's Daddy got so excited that he shouted I when Fred hit a Home Run & the school won the baseball game I but Aunt Sarah was always hummingWhere is my I wandering Boy-after Fred an John left for a job in Bridgeport !-there was usually a sadness 1 -but not at the Barn Dances with it jigs foot jumping & reels I mostly on Winter nights I In the Summer times, the Hymns were sung outdoors, Folks I sang-as

191

ole Black 'JOE'- & the Bethel Band--Quickstep I Street Marches, & the people like[d to] do [recte say] things as they wanted to say I and to do things as they wanted to in their own way- I and many old times ... there were feelings, and of spiritual I Fervency!" On one p. ofmvt v, S2 (f3818}, Ives drafted a title: "Sonata #I. for Piano (3 movements) (4 ?5) list Adagio-slowly, serious) ('but not too') I 2nd Allegro (The rhythm of the gospel furiously) I 3rd Largo, Andante appassionato (slowly & seriously) I (then fast and seriously) I 4th Allegro discordant not copied in ink)." Ives did not personally rework his early ragtime materials for mvts u• and ivb of this sonata. The bound copy of photostats that constitutes his "final" version of the work incorporates the sketches for no. 2 (pencil, S3) and no. 4 (ink, S3) of the Four Ragtime Dances. This bound copy has some pencil revision but Lou Harrison apparently worked from unmarked photostats and, therefore, had to cope with sketches that were unfinished and which presented to him multiple options for a some passages. Any performing version of these two sections necessarily must be considered merely provisional. (For additional, especially early, source materials for the ragtime mvts, see Four Ragtime Dances, no. I, no. 2, and no. 4.) Concerning the first performance ofmvt iib

88.

PIANO SONATAS

(In the Inn), Wiecki's article in American Music I 0/1 (Spring 1992), p. 12, states: "In 1928 lves sent Schmitz some piano music, acknowledged by Schmitz in a letter written [July 1928] during his Denver master class session: 'I received with much pleasure the new potpourri from the sonata... ' In his next letter [20 Aug 1928], Schmitz noted that the 'Potpourri' had been played by Violet Duncan of St. Louis, the winner of the 1927 Schmitz Scholarship ... in the American contest of the 1928 Master Class Session." (Wiecki then misassumes that this is the same work that Rovinsky played at a Pro Music concert in NY on 14 Nov 1928.) At some point Ives had a complete ink copy made (copyist unknown) which Ives then lent to John C. Griggs, but after Griggs's death in California in 1932, it could not be found. Ives refers to the derivation ofmvt i in these memos (in his Misc. correspondence): "This [I st piano] sonata was composed mostly in 1900-{)4, one movement is partly from a organ piece played in a Organ Recital in Center Church New Haven in 1897" and "The first piano Sonata was composed mostly around 1902-1904 tho' part of the rather slow first movement was played at an organ recital in Danbury in 1896 and was finished in 1909." [CIP: IIIC/Box 3711]

Sonata No. 2 for Piano: Concord, Mass., 1840-60

Medium: Pf(opt. vain mvt i; opt. fl in mvt iv) Duration: 43 min. (36-52 min.) Movements: i. Emerson (Slowly; 16 min., partly unbarred) r.h.

088

,-3---,

faster

Arrow/Associated (1947)

088 PIANO SONATAS

192

ii Hawthorne (Very fast; II :30 min., mostly unbarred)

Arrow/Associated ( 1947)

iii. The Alcotts (Moderately; 5:30 min., partly unbarred)

Arrow/Associated (1947)

iv. Thoreau (Starting slowly and quietly; 11:30 min., mostly unbarred) Starting slowly and quietly /.h.~

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#~ ---===========· Arrow/Associated (1947)

Source: i. Emerson I. Sketches [on paper first available in 1915], mostly in pencil, some in ink, together with patches and revisions, 17 pp. (f3900-16). 2. Ink score [copied during the faU 1918 or spring 1919 (see KirkC, p. 88)], headed "I. 'Emerson'," 16 pp. (f3917- 32). 3. Patches, in pencil and ink, made by Ives and George F. Roberts for the second edn (including patches made for proof sheets), 19 pp. (f3933- 36, 3938-50,4891,5819, 5844). 4. Ives's private recording made 24 Apr 1943

at the Mary Howard Recordings studio in New York City; three takes covering passages from mvt i ("' pp. 5-6 and p.14-18), totaling 6 min.

ii. Hawthorne 1. Sketches and patches, mostly in pencil, some in ink, headed "(Piano Sonata #2) 'Concord Mass 1850' (#2 'Hawthorne') Schetch of Concerto in safe 37 Liberty 70 W II," 10 pp. (f3951-60). 2. Ink score, inc.: t.p. "(Piano Sonata #2) Concord Mass (1850) #2 'Hawthorne"' (f3961 ); 9 pp. (pp. 1, 4A, and 18-24 of24 extant, the

193

rest missing), headed "II. 'Hawthorne"' (t3962, 3964-71); pencil patches on a page numbered "4A" (t3963) and a page headed "see -11-A & 12 A" (t3964). 3. Photostat repro of various pp. from S2, with emendations by Ives: pp. 21, 22, 24 (t397274); pp. 20-24 (f7810-14). 4. Rej. pencil patches, 2 pp. (t3957-58). 5. Patches for the second edn, with several annotations by George F. Roberts, 4 pp. (t3975-78). 6. Ives's private recording made II May 1938 at the MeloTone Recording Studio, New York City: one take of just 13 seconds at the beginning of side 5, of phrases like those at the beginning of the mvt.

iii. The Alcotts I. Sketches and patches, mostly in ink, some in pencil, 7 pp. (t3979-83, 3252, 3993) [the latter 2 pp. are possibly for Alcott Overture]. 2. Ink score: t.p. [mostly tom off] "III Sonata #2 'Concord [... tom ... ] #3. 'the A[lcotts']" (t3984); 6 pp., headed "III 'The Alcotts'" (t3986-91); patch for p. I of this score on the verso oft.p. (t3985). 3. Pencil patch by lves, copied in ink by George F. Roberts, for the second edn, I p. (t3992). 4. Ives's private recording made 24 Apr 1943 at Mary Howard Recordings in New York City, of the complete mvt (see Comment). iv. Thoreau I. Sketches and patches, in pencil and ink: t.p. "Ives &c Concord Mass mvt IV Thoreau" (f7437); 6 pp. (t3994-98, 0784); possible sketches toward the obbligato fl part at the end of the mvt, 2 pp. (t3993, 3252 [both possibly for Walden Sounds]). 2. Ink score, inc. (t.p. tom off, missing the opening of the mvt), 8 pp. (f4003-12); patches on 2 pp. (f4002, 4013). 3. Patches, rej., mostly pencil with some ink, for the first edn, 5 pp. (t3983, 3999-4001, 4870). 4. Pencil patches toward the second edn, including patches for proofs, 3 pp. (f4014-16).

PIANO SONATAS

088

Complete work I. Emendations and patches by Ives and George F. Roberts, mostly for the second edn, on pp. from 15 different copies of the first edn of the sonata, 346 pp. (f4017-4362). See KirkC, p. 91a, for an annotated list of these copies (numbered R 0-R 14 ; later renumbered by Kirkpatrick [here in former order]: r 1, r 2, r 3 [Copy F 3], r 7 [Copy A], rS, r6 [Copy C], r 10 , r 11 , r 12, r 13 , r 17 [Copy E], r 8, r 14 [Copy F 1 (1-6), F 2 (9-18)], r 15 [Copy D], r 16 [Copy B]) and the pages therein containing emendations by Ives. 2. Ten sets of proof sheets for the second edn, with emendations and patches by Ives and George F. Roberts (also some in Harmony Ives's hand), 357 pp. (f4363-4719). See KirkC, p. 92a, for an annotated list of these proof sheets (sets numbered [0], [pre-I], I, II, Ila-b, III, Ilia, IV, V, [VI]). Date: Assembled/recomposed c1915 from music composed 1904-15; revised (ink scores) c1919; revised in 1920s-40s for 2nd edn. In a draft for a letter from Harmony lves to John Kirkpatrick (II Oct 193 5), Ives writes: "Shortly after 1911, at Pell's [a vacation 1626 Sept 1911 ], I got the idea of a Concord sonata" and gives dates for Kirkpatrick's questionnaire "[Emerson] completed in the summer of 19121 [Hawthorne] completed October 12, 1911 I [The Alcotts] completed 19151 [Thoreau] completed 1915." MS Work-list 3 has 1912-1915. Mvt i: An annotation on the first p. ofS I (t3900): "Scetch [sic] Concord Sonata Saranac Lake Sept. 1912 [later changed to:] 1907." On Work-list C Ives pencilled "190708" for this mvt. AG: 1911-12. Mvt ii: An annotation on the first p. of S I (t3951): "Hawthorne #2 mv[t] started April 1911, ended Oct 12, 1911 I Scored 1915-16 II [mvt] 4th Symp." AG: 1911. Mvt iii: An annotation at the bottom ofthe last p. ofS2 (t3991): "ended Nov 28-1914 (from some themes for an Orchard House Overture Aug. 1904 - but a page!" [added below:] "don't print." AG: 1912-14. Mvt iv: An annotation on p. I ofS4 (f4002),

088 PIANO SONATAS

written in ink over a footnote for the first edn: "finished May 30 1915 from some ideas 'Walden Sounds[']- Ch Bells, flute Harp (Aeolian) to go with Harmony's Mist- Elk Lake 1910." AG: 1910-15. Work-lists A, B, H: "From 1911-1915." Work-lists C, D: "1910-1915." Work-lists E-G: "1909-1915." Publication: l. Redding, CT: Charles E. Ives, 1920 [actually delivered Jan 1921]; first edn, privately printed by G. Schirmer for Ives; repr. (reduced to a study score size) without other alteration by Edwin F. Kalmus & Co. 2. New York: Arrow Music Press, 1947; second edn (revised by Ives). Assigned 1957 to Associated Music Publishers, which has reprinted the second edn without alteration. 3. Edn by John Kirkpatrick available from Associated Music Publishers by special arrangement (largely based on the I st edn, in pursuit of the earliest state of the sonata). Premiere: Mvt i: First documented performance: Paris, 5 Mar 1928, Katherine Heyman, on a radio broadcast from the Sorbonne station of the Radio Institute of Paris (according to BlockB: B65g). First documented U.S. performance: San Francisco, 19 Sept 1928, Arthur Hardcastle (pf), in a recital at the Rudolph Schaeffer Studios, sponsored by the New Music Society of California. (Program in the CIP: VII/Box 50/2.) Mvt iii: First documented performance: [location unknown] 3 Aug 1921, Clifton Furness in a lecture-recital (citation from the CIP: VIU Box 53/l, which contains a pencil list by John Kirkpatrick headed "Programs & Performances Mentioned in this Scrapbook"; program in Ives Scrapbook No.6, p. 21 in the CIP: IV/ Box43). Second documented performance: New York City, 1 May 1928, Oscar Ziegler (pf) in a recital of American vocal and piano music at the New-York Historical Society. (Program in the CIP: VII/Box 50/2.) Mvt iv: First documented performance: Hartford, CT, 12 Dec 1928, Clifton Furness

194

("Chez Goodwin, Hartford" according to a handwritten note by John Kirkpatrick in the CIP: VII/Box 53/3. Kirkpatrick also notes: "Black Music SB, p. 63 I Elliott Carter says 1928lletter ofCJF Dec 5 says 1928.") Unidentified excerpt(s): Columbia, SC, between 19 Sept 1921 and 4 Jan 1922, Lenore Purcell (pf) in a lecture-demonstration by Henry Bellamann (citation from BlockB, p. 28). Unidentified excerpt(s): Atlanta, 4 Jan 1922, Lenore Purcell (pf), in a lecture-demonstration by Henry Bellamann given for the Atlanta Music Club. Unsigned review in the Atlanta Constitution (5 Jan 1922), p. 10. First performance of complete sonata: Cos Cob, CT, 28 Nov 1938 at The Old House, John Kirkpatrick (playing from memory). (Concert announcement in the CIP: VII/Box 50/5.) Kirkpatrick later classified this as a "private" affiUr, but it was, in fact, advertised for the public and reviewed. Reviewed by Paul Rosenfeld, Modern Music 16/2 (Jan-Feb 1939), pp. 109-112. (An earlier, truly private performance of the entire work took place-''not yet from memory"-at Kirkpatrick's lecture/recital ["American Impressionists," part of a History Series] in Stamford, CT, 21 June 1938 [see letter from Kirkpatrick to Ives, n.d. (22 June 1938), CIP: IliA/Box 30/14].) Second performance of complete sonata: New York City, 20 Jan 1939, John Kirkpatrick in a recital at Town Hall. (Concert announcement, listing the work as a "first performance," and program in the CIP: VII/Box 50/5; announcement repr. in Perlis 1974, p. 222.) Reviewed by Elliott Carter, Modern Music 16/3 (Mar-Apr 1939), pp. 172-76 (repr. in The Writings of Elliott Carter, compiled, ed., and annotated by Else Stone and Kurt Stone [Bloomington: Indiana University Press, 1977], pp. 48-51); Olin Downes, NY Times (29 Jan 1939), a short article on Ives inspired by the 20 Jan 1939 performance (Downes reviewed Kirkpatrick's 24 Feb 1939 performance, NY Times [25 Feb 1939, p. 18]); Lawrence Gilman, NY Herald Tribune (21 Jan 1939), p. 9; Irving Kolodin, NY Sun (21 Jan 1939); "John Sebastian" [Goddard Lieberson], New Masses (7 Feb 1939), p. 30; and Robert

195

Simon, The New Yorlrer, 14/50 (28 Jan 1939), pp. 44--45; Goddard Lieberson, "An American Innovator, Charles Ives," Musical America (10 February 1939): 22, 322-23. For a private performance by Ives of the sonata in Hartsdale, NY, 1912, for Max Smith, see Memos, pp. 186-88. Ives also reported that "at an impromptu church concert in New York in the spring of1914, I played the Emerson and part of the Hawthorne movements" (Memos, p. 201; see also letter of Harmony Ives to John Kirkpatrick, 11 Oct 1935). First recording: Complete work: John Kirkpatrick, 9 Apr 1945 (issued in 1948 by Columbia Records, MM-749). First recording of mvt iii: Charles Ives, 24 Apr 1943 (issued in 1974 by Columbia Records, M4 32504). Derivation: Mvt i: Partly derived from the inc. Emerson Overture for Piano and Orchestra [#022] and from Study No. I [#090] (at p. 1, L3, mm. 23), No. 2 [#091] (at p. l, L.S, mm. 2-3 top. 2, L.1, midpage), No. 9 [#097] (at p. l, L.l-2), No. II [#099] (at p. 19, L.4) and No. 23 [#107] (at p. 7, L.l-2); developed into the pf Four Transcriptions from "Emerson" [#123]. Mvt ii: Initially based on the lost Hawthorne Concerto for Piano and Orchestra [#x640] and at least two lost pieces for p:t: The Slaves ' Shuffle [#x684] and Demons' Dance around the Pipe [#x680] (and perhaps an early notion of The Celestial Railroad, see Memos, p. 81); adapted in part (along with the original, now lost Hawthorne Concerto materials) for Symphony No. 4/ii [#004] and The Celestial Railroad for pf[#ll6]. Quality List 2, item 122, has an additional reference, so far untraced: "Sketch 'Largo contabile' put into Hawthorne Movement- Concord Sonata (two negatives)." Mvt iii: Developed from the lost orch Alcott Overture [#021] (see Comment). Arr. by Ives for the lost The A/cottsfor Organ [#x687]. Mvt iv: Developed from the lost Walden Sounds [#x679]. Arr. by Ives for the lost Thoreau for Organ [#x705]. Adapted for the song Thoreau [#373] (see Comment); possibly adapted for the song Smolre [#351]. Possibly intended to serve as mvt iv the projected Set:

PIANO SONATAS 088

Sounds! [#x649]. lves intended to include at least some of this work (perhaps omitting mvt iii) as no. 9 in his List: Music and Democracy [#x641]. Borrowing: Mvt i: CRUSADER'S HYMN, MARTYN; Beethoven, Piano Sonata No. 29, Op. 106 ("Hammerk/avier")/i (mm. 1-2), Symphony no. 5/i (mm. 1-2); Wagner, Tristan und Isolde/Prelude (mm. 1-3). Mvt ii: Columbia, the Gem ofthe Ocean, MARTYN; Beethoven, Piano Sonata No. 29, Op. 106 ("Hammerklavier'')li (mm. 1-2), Symphony No. 5/i (mm. 1-2); Debussy, Children's Corneri"Golliwog's Cake-Walk"; Ives, "Country Band" March (mm. 5-15), He Is There! (mm. 27-33), Talre-O.ffNo. 3: Rube Trying to Walk 2 to 3!!. Possible borrowing: Peter, Peter, Pumpkin-Eater. Mvt iii: Loch Lomond, MARTYN, MISSIONARY CHANT, Stop that Knocking at My Door; Beethoven, Piano Sonata No. 29, Op. 106 ("Hammerk/avier'')/i (mm. 1-2), Symphony No. 5/i (mm. 1-2); Wagner, Lohengrin!Wedding March. Mvt iv: MARTYN, Massa's in de Cold Ground; Beethoven, Piano Sonata No. 29, Op. 106 ("Hammerklavier'')/i (mm. 1-2), Symphony No. 5/i (mm.1-2). Literature: KirkC: 3A2; AG: xl9; Essays, passim-xiii-xxiv, xxv, 3-102, 253n 52. Memos,54n11, 76, 79,81-82,99n7, 150,152, 162--63, 185-204; Tunebook, 205. See also correspondence with Henry Bellamann (CIP: IliA/Box 27/8,6 Jan 1922), E. Power Biggs (CIP: IliA/Box 29/9, n.d. [reply to 15 Apr 1948]), Henry Cowell (CIP: IliA/Box 28/1, 12 Apr [1928]), Lehman Engel (CIP: IliA/Box 29/3-5,22 Nov 1938-20 Sep 1947), Henry Gilbert (CIP: IliA/Box 29/11, 28 May [1920]), Walter Goldstein (CIP: IliA/Box 29/13, 10 Mar 1921), John Kirkpatrick (CIP: IliA/Box 30/13, 11 Oct 1935), George F. Roberts (CIP: IliA/Box 31/8,21 Nov 1940), Edwin String-ham (CIP: IliA/Box 3217, 22 June [?1921]), American Music Center (CIP: IIIB/Box 34/2, 7 Dec 1942), Arrow Music Press (CIP: IIIB/Box 34/4, 12 Mar 1939-2

088 PIANO SONATAS

Apr 1947), and Thoreau Society (CIP: IIIB/Box 36/1, 21 Jan 1928). BlockB: W65, W65a-p, B29, B32, B34 (review is pub!. in Burkholder 1996, pp. 32&30), B36 (review is pub!. in Burkholder 1996, pp. 330-33), B45, B63, B63g, B70, B75, B77, B84, B87-88, B91, B95-96, BIOI, B105, Bll8, Bl44, B150, B166, B184, B196, B212, B215, B224, B235-36, B256, B267, B270, B272,B276,B278,B285,B295,B303,B32223, B327-28, B337, B342-44, B354, B366, B378, B457, B463, B483, B502, B509, B637, B644, B649-50, B659-60, B661-65 (reviews are pub!. in Burkholder 1996, pp. 278-88), B666-67, B668-75 (reviews are publ., in whole or part, in Burkholder 1996, pp. 31428, 333-37), B676-77, B678 (review is pub!. in Burkholder 1996, pp. 347-49), B679-710, B724, B731, B737, B773; see also Bl21, B187, B226, B635-37, B641, and pp. 3, 7-9. Cowell1955, 13, 66, 77, 81, 90-91, 99, 111-13,148,172,174,176,190-201,22728; Perlis 1974, 74 (Joseph Moss Ives), 136 (Elliott Carter), 152-53 (Nicolas Slonimsky), 186 (George F. Roberts), 198 (Lou Harrison), 213-18 (John Kirkpatrick); Rossiter 1975, 105, 134, 149, 164, 179, 180, 181, 183, 185, 186,187-88,196,197-98,201,203,205, 207,277,278-87,288,290-91,294,305, 309, 310, 351n/14, 356n/95, 374n/1; Hitchcock/Perlis 1977, ix, 25, 39,48-49,51, 68-73, 81, 106, 108, 120, 133, 138, 149, 151-52,159,161-62,169,174-77,206-07, 228,230,232,239,243,248,255;Chmaj 1989,passim; Lambert 1989 [Integral], 8-9; Meyer 1991,passim; Rathert 1991, 165-208; Feder 1992,231, 258, 260,261,277,290, i: 258,260,261,263-64,265,268,li:258,261, 262, 268, 277, ill: 264, 268, 269, iv: 196, 234, 258,262,269,270,271-72,378n45;Hertz 1993, 103-06, 109-12, 124-30, 197-203, 223-29; Lambert 1993, 60-62, 66-71; Brodhead 1994,passim; Burkholder 1995, 195200, 350-58; Block 1996,passim; Block/ Burkholder 1996, 34-50; Hertz 1996, 75-78, 80, 82-116; Swafford 1996, 136, 167, 213, 217,220,226,227,236,242,268,273,276, 288,305,306,319-23,401,410-17, i: 257, 258-61,265,289,290,293,300,350,371, 403-04,li:241,256-57,262,266,343,355,

196

360, ill: 262-63, 266, 269, 290, 371, iv: 257, 259,263-66,290,296, 300; Block 1997,2750; Feder 1997, 163-76; Rathert 1997, 10532. Discography: Hall1964/3, 92; Morgan 1974, 75; Cohn 1981, 911; Oja 1982: 5448, 5449, 5450, 5451, 5452, 5453 (excerpts), 5454 (ill); BlockB: D47-49, D54-57. Comment: In his Work-list B Ives gives this succinct statement: "(This Sonata is an attempt to present one person's impression of the spirit of the literature, the philosophy, and the men of Concord, Mass. of over a half century ago. This is undertaken in 4 Movements: 1. 'Emerson'; 2. 'Hawthorne'; 3. 'The Alcotts'; 4. 'Thoreau'. The first movement was to be a piano concerto and was partially written as such. There are 4 transcriptions of this for piano." Work-list C adds: "There was an Alcott Overture composed on Pine Mt. around 1902-04 with a theme & some pas-sages used in Sonata." (Lists D-G have the Alcott Overture date as simply "1904.") But in a letter to Raymond Adams of the Thoreau Society, 21 Jan 1928, Ives notes: "The Thoreau movement was originally from a score of some wood and string instruments with piano, and the printed copy loses some-what by the reduction." In letter draft replying to E. Power Biggs's letter of 15 Apr 1948, Ives refers to otherwise unknown versions of mvts ill and iv: "He [i.e. Ives in the third person] remembers playing at an organ recital some 30 years ago the 3rd movement 'The Alcotts' and the 4th 'Thoreau' of his 2nd Piano Sonata, though he can't find these arrangements for organ here." The enthusiastic critical response to John Kirkpatrick's 20 January 1939 premiere of the complete sonata led Ives to an immediate desire for a corrected reprinting of the sonata (see American Music Center-Ives correspondence, and Arrow Music Press-Ives correspondence, and Lehman Engel-Ives correspondence). As Ives reconsidered his score his plan escalated into a new edition ofthe work, one that would add to the piano version, as much as possible, omitted material found in the original orchestral source pieces. (For mvt i he had

197

already done this in his Four Transcriptions from "Emerson.") Ives turned to Kirkpatrick for help but Kirkpatrick found himself quite attached to the relative clarity of the original printing and repulsed by Ives' s plan to add to the keyboard so much of the orchestral density and dissonance. Kirkpatrick resisted so long that Harmony Ives was sent to retrieve the photostat materials given to him for the task. Ives went at the revisions himself, engaging George F. Roberts to enter clear changes onto the original printing. (See letter draft and ASL by Harmony Ives for Ives to George Roberts, 21 Nov 1940: " .. .1 remember when we went all over it together last spring [of 1940] it was quite clear to you- you made the corrections in ink & the few passages & pages which you copied were all well & correctly done & put in their right places."). From the first submission to Arrow Press of changes in early 1940 the project experienced problems and a succession of engravers struggled with Ives' s many

89.

PIANO SONATAS

089

changes of mind. World War II brought a hiatus of 1944-46. On 2 Aprill947 Godfrey Turner (of Arrow Music Press) wrote to Harmony Ives: "I do hope that Mr. Ives is not again re-writing the SON ATA by means of extensive corrections. The plates absolutely will not stand any more and secondly, inasmuch as the original engraver is out of business, there-engraving will not match too well...and thirdly, this proof was supposed to be a complete and final corrected proof." In late September 1947 Ives sent in the last, apparently tenth, proof. Publication of the second edition came on 7 October 1947. The recordings listed as sources for mvt i- iii are included in the Columbia Records 1974 set Charles lves: The JOOth Anniversary (5 discs, M4 32504, record 4/side I). The mvt ii excerpt in the Columbia set is transcribed 6% too fast. Ives seems not to have recorded any part ofmvt iv.

Three-Page Sonata

Medium: Pf(opt. glock) Duration: 7 min., 135 mm. [in Kirkpatrick edn] (Allegro moderato-Andante-AdagioAllegro- March time) Allegro moderato

M ercury (1 97 5)

Source: I. Sketch, mostly pencil, some ink, 3 pp. (f4769-71 ); patches on a two separate pp. (fl788, 4772). 2. Copy of Mercury 1949 publication, with memo on p. 3 (see Comment), I p. (f4773). Date: Composed in Sept 1905, revised 1925 or later. At the bottom ofp. 3 of the source: "Fine at Saranac L[ake]. NY with Dave [Twi-

chell]-Aug '05 [recte Sept]." AG: Sept 1905. Publication : I. New York: Mercury Music, 1949; ed. by Henry Cowell; repr. in Charles E. lves. Five Piano Pieces (Bryn Mawr, PA: Merion Music, Inc., 1975). 2. Bryn Mawr, PA: Mercury Music, 1975; Ives Society critical edn by John Kirkpatrick.

198

090 PIANO STUDIES

Premiere: New York City, 25 Apr 1949, William Masselos in a chamber-music concert at the Museum of Modem Art; the concert was the second in a series sponsored by the International Society for Contemporary Music, United States Section. (Concert announcement in the CIP: VII/Box 50/8.) Reviewed by Arthur Berger, NY Herald Tribune (26 Apr 1949), p. 18; Howard Taubman, NY Times (26 Apr 1949), p. 29. First recording : Luise Vosgerchian, Dec 1962 (issued in 1963 by Cambridge Records, CRS1804). Borrowing: B-A-C-H, Westminster Chimes. Possible borrowings: NEED, PROPRIOR DEO; Carl Foeppl, Cornet Fantasy on "Ever of Thee " by Foley Hall. Literature: KirkC, 3Bl5; AG: xl4. Memos, 155; Tunebook, 204. BlockB: W76, W76a, B50, B57, B92, Bl23 , Bl50, Bl60, B252, B286, B307, B330, B633 ,

B638, B711, B714-17. Hitchcock/Perlis 1977, 133, 136; Alexander 1989, 102-09; Baron l989, passim; Lambert 1990a, 34-35; Feder 1992, 185; Burkholder 1995, 240-41 ; Swafford 1996, 164, 166, 177, 460n39; Lambert 1997b, 82- 85, 135-37. Discography: Halll964/ l , 144; Morgan 1974, 75; Cohn 1981 , 912; Oja 1982: 5509, 5510, 5511 ; BlockB: 011,047-48,053, D58. Comment: On p. 3 ofS2, lves added: "Mostly made as a joke to knock the mollycoddles out of their boxes! (from a slip pinned on an old MSS)." According to Ives's diary he vacationed with the Twichell family at Roberts Camp, Saranac Lake from 1- 8 Sept 1905. See KirkC, p. 96 and Kirkpatrick's critical notes to his edn for dating evidence. The patches can be dated 1919 or later as they are on the same page as part of the score-sketch for Orchestral Set No. 3. Cowell's editing misconstrues the form of the march/ragtime rondo.

B: STUDIES 90.

Study No.1: Allegro

[inc.]

Medium : Pf Duration : Mostly unbarred (c40 quarter beats of music extant) (Allegro)

MS(f47 82)

Source: Fragmentary pencil sketch (missing first of2 pp.), I p. (f4782). Date: Composed probably in 1907-?08 . KirkC: 1907-09?; and AG : 1907-?08.

Publication: Unassigned and unpublished. lves Society critical edn by David G. Porter in preparation. Derivation: Materials from late in this study taken from or developed into Scherzo: Over

199

the Pavements [#082] (rnm. 68-72) and in part went into Emerson Overture for Piano and Orchestra [#022] (Cadenza No.2) and mvt i of Four Transcriptions from "Emerson,. [#123]. The equivalent of two rnm. appears in mvt i (Emerson) of Sonata No. 2for Piano: Concord, Mass. [#088] (at p. I, L.3, rnm. 2-3) and one m. is shared with Stucry No. 2 [#091].

PIANO STUDIES

091

Comment: The tempo heading in the title is supplied editorially. According to KirkC, p. 98, this study may have comprised one full p. and part of another, of which the first p. is missing; the source contains the end of this study and the beginning of Stucry No. 2 (S3). At some time, perhaps in the 1930s, lves renumbered some of the studies; this study was renumbered "10."

Literature: KirkC: 3BI7; AG: xl6:i. Memos, 108nl, 150, 155. BlockB: W78.

91.

Study No.2: Andante moderato--Allegro molto

Medium: Pf Duration: 2:30 min., mostly unbarred (43 rnm. in Porter edn) (Andante moderato-Allegro molto) Andante modo 8 ..... , 1':\

MS(f4782)

Source: I. First pencil sketch, 2 pp. (f4782-83); patches on separate pp. (t2225-26 & f4784 [for Emerson Concerto but duplicating material from this Study]); photostat repro of the latter patch p. with added heading "[Quality List 2] #97" (f4785). 2. Second pencil sketch (made 1925 or later), 2 pp. (t2221-22); photostat repro with added heading "[Quality List 2] #97" (f4780-81). 3. Ives's private recording ofmvt i of Four Transcriptions from "Emerson" made 12 June 1933 at Columbia Graphophone Co., London (Disc TT-1419-1). (see Comment) 4. Ives's private recording ofS2 made II May 1938 at MeloTone Recording Studio, New York City: p. I ofMS (side 2, cuts 2 and 3, and side 3, cut I); p. 2 (side 3, cut 2). (see Comment) 5. lves's private recording made 24 Apr 1943 in New York City on Mary Howard Record-

ings disc C, side I: beginning only. Date: Composed probably in 1907-?08, revised 1925 or later. KirkC: 1907-09?; AG: 1907-?08. Publication : Unpublished, assigned to Associated Music Publishers; lves Society critical edn by David G. Porter in preparation. (see also Three lmprovisationslu, which is substantially the same music) Premiere: New York City, 23 Mar 1968, Alan Mandel in a piano recital at Town Hall, in which he also premiered the Set of Five TakeOffs and Study Nos. 5, 6, 7, 15, 20, and 23 . (Concert announcement and program, listing the works as "world premieres," in the CIP: VII/Box 5117.) Reviewed by Peter G. Davis, NY Times (24 Mar 1968), p. 92; and Michael Brozen, High Fidelity/Musical America 18/6

092

PIANO STUDIES

(June 1968), p. MA 17. First recording: Alan Mandel, Aug 1967- Jan 1968 (issued 1968 by Desto, DST -6458-61 ). Derivation: Shares a few beats of music with Study No. I [#090] . Used almost completely in the Emerson Overture [#022] and the third of its "centrifugal cadenzas" for pf; closely related to mvt i of Four Transcriptions from "Emerson " [#123] (see Comment). The beginning of the study appears early in mvt i (Emerson) of Sonata No . 2 for Piano: Concord, Mass. [#088]. (see Comment) Literature: KirkC: 3Bl7; AG: xl6:ii. Memos, 150, 155. BlockB: W78, W78b, B3 , B307, Bll3, B711, B719. Discography: Cohn 1981 , 912 ; BlockB: D48.

92.

200

Comment : Much of this study is heard in Ives' s recording (S3) ofmvt i of Four Transcriptions from "Emerson"; this recording is included in the Columbia Records 1974 set Charles lves: The JOOth Anniversary (5 discs, M4 32504, record 4/side 1/cut 5). What John Kirkpatrick identified as "Improvisation Y" [Three Improvisationslii] from lves's 11 May 1938 private recording session is actually a performance ofp. 2 of this study (SI , f4783); this recording is included in the Columbia Records anniversary set (record 4/side 2/cut 4), the source cited here in S4. S1 (f4784) and S2 apparently were intended for use with the Emerson Overture materials. Letter codes interrelate this study with Copy C ofmvt i of Four Transcriptions from "Emerson." At some time, perhaps in the 1930s, Ives renumbered some of the studies; this study was renumbered "11 ."

Study No.4: Allegro moderato [inc.]

Medium : Pf Duration: Mostly unbarred (37'12 quarter beats of music extant) ([no tempo heading]) [m.?]

MS(f4786)

Source: Fragmentary pencil sketch (missing the first 2 of3 pp.), I p. (f4786). Date: Composed probably in 1907- ?08 . An annotation at the end of the source: "Thus played at Redding Concert! July 3- 1914 [before] F[rancis] . Ryder! the audience then goes out & breaks or Rocks-by Sky Rocket for Danbury!" KirkC: say 1907-09? AG: 1907?08. Publication : Unassigned and unpublished.

Premiere: (see under Date above) Literature: KirkC: 3Bl7; AG: x16:iv. Memos, 108nl, 150, 155. BlockB: W78. Comment: The tempo heading in the title is supplied editorially. According to KirkC, p. 98, this study comprised two pp. and part of a third, of which the first two pp. are missing; the source contains the end of this study and the beginning of Study No. 5.

201

93.

PIANO STUDIES

093

Study No. 5: Moderato con anima

Medium: Pf Duration: 3 min., mostly unbarred [304 mm. in Mandel's edn, counting each quarter-note as one "measure"] (Moderato con anima) Moderato [con) anima

f;

Merion (1988)

Source: Pencil sketch, headed "#5," 6 pp. (f478fr-91). Date: Composed probably in 1907-?08. An annotation in the source (bottom off4790): "Decoration Day at Hartsdale--Max sidesteps." [See Memos (p. 121): "Max Smith and Mary spent one Sunday with us in May 1912 or 1913 at the Whitman house in Hartsdale."] KirkC: 1907-09?; AG: 1907-?08. Publication: Bryn Mawr, PA: Merion Music, 1988; Ives Society critical edn by Alan Mandel. Premiere: New York City, 23 Mar 1968, Alan Mandel in a piano recital at Town Hall, in which he also premiered the Set of Five TakeOffs and pf Study Nos. 2, 6, 7, 15, 20, and 23. (Concert announcement and program, listing the works as "world premieres," in the CIP: VII/Box 51/7.) Reviewed by Peter G. Davis,

94.

Study No. 6: Andante

Medium: Pf(see Comment) Duration : 4 min., 28 mm. (Andante)

NY Times (24 Mar 1968), p. 92; and Michael Brozen, High Fidelity/Musical America 18/6 (June 1968), p. MA 17. First recording: Alan Mandel, Aug 1967-Jan 1968 (issued 1968 by Desto, DST -6458-61 ). Literature: KirkC: 3817; AG: xl6:v. Memos, 150, 155. BlockB: W78, W78b, 83,8307, 8113,8711,8712,8719. Lambert 1990a, 41-42; Lambert 1991b, 141-44; Lambert 1996, 125- 27; Lambert 1997b, 101-26. Discography: Cohn 1981,912. Comment: The source gives the tempo heading as "Allegro anima." On p.2 of the source (f4787): "To Strengthen & give more muscle to the ear, brain, heart, limbs & Feat." At some time, perhaps in the 1930s, Ives renumbered some of the studies; this study was renumbered

"13."

095

202

PIANO STUDIES

Andante

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ace. parts over first

MS (f479 1)

Source: Pencil sketch, headed "#6," 2 pp. (f4791-92).

1968 (issued 1968 by Desto, DST -6458--61 ). Borrowing: Possible borrowing: BETHANY.

Date: Composed probably in 1907-?08. KirkC: 1907-09?; AG: 1907-?08.

Literature: KirkC: 3BI7; AG: xl6:vi. Memos, 150, 155. BlockB: W78, W78b, B3, Bll3, B307, B711-12, B719.

Publication: Unassigned and unpublished.

Discography: Cohn 1981, 912.

Premiere: New York City, 23 Mar 1968, Alan Mandel in a piano recital at Town Hall, in which he also premiered the Set of Five TakeOffs and pf Study Nos. 2, 5, 7, 15, 20, and 23. (Concert announcement and program, listing the works as "world premieres," in the CIP: VII/Box 5117.) Reviewed by Peter G. Davis, NY Times (24 Mar 1968), p. 92; and Michael Brozen, High Fidelity/Musical America 18/6 (June 1968), p. MA 17.

Comment: At some time, perhaps in the 1930s, Ives renumbered some of the studies; this study was renumbered "14." A memo on f4 791 indicates a plan for orchestrating this study: "or tune ofl3-4' chords I may be played I by woodwinds I lower clefTrombones I Bassoons I Piano play I only all counter parts I arpeg. back I & forth I in 5s."

First recording: Alan Mandel, Aug 1967-Jan

Study No.7: Andante cantabile

95.

Medium: Pf Duration: 2:30 min., c17 mm. (Andante cantabile) Andante cantabile II

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203

PIANO STUDIES 096

Source: Pencil sketch, headed "#7," 2 pp. (f4793-94) [2 crossed-out mm. at the end of the source are for Study No. 6 (f4792)].

NY Times (24 Mar 1968), p. 92; and Michael Brozen, High Fidelity/Musical America 18/6 (June 1968), p. MA 17.

Date: Composed probably in 1907-?08. KirkC: 1907--09?; AG: 1907-?08.

First recording: Alan Mandel, Aug 1967-Jan 1968 (issued 1968 by Desto, DST -6458--{i I).

Publication: Unassigned and unpublished.

Literature: KirkC: 3B 17; AG: xl6:vii. Memos, 150, 155. BlockB: W78, W78b, B3, Bll3, B307, B711-12, B719.

Premiere: New York City, 23 Mar 1968, Alan Mandel in a piano recital at Town Hall, in which he also premiered the Set of Five Tak£Offs and Study Nos. 2, 5, 6, 15, 20, and 23. (Concert announcement and program, listing the works as "world premieres," in the CIP: VII/Box 51/7.) Reviewed by Peter G. Davis,

Discography: Cohn 1981,912. Comment: At some time, perhaps in the 1930s, Ives renumbered some of the studies; this study was renumbered "15."

Study No.8: Trio (Allegro moderato-Presto)

96.

Medium: Pf Duration: I :30 min., mostly unbarred (Allegro moderato-Presto) Allegro moderato

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